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| 2. |
- Widhe, Olle, 1971-
(author)
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Den orättvisaste orättvisan. : Heroism och alternativ maskulinitet i Hans Erik Engqvists ungdomsroman Tredagarskriget
- 2014
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In: Barnboken. - : The Swedish Institute for Children's Books. - 0347-772X .- 2000-4389. ; 37, s. 1-16
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Journal article (peer-reviewed)abstract
- ”Wicked Wrongfulness. Heroism and Alternative Versions ofMasculinity in Hans Erik Engqvist’s Young Adult Novel Three DaysWar”. This article examines the re-evaluation of modern masculinity in theYA novel Three Days War by the Swedish author Hans Erik Engqvist (b.1934). The central argument is that the fictional representation of ChildrenPlaying War in the novel is intertwined with the imagining of competingmasculinities as well as opposing ideologies in post-war Sweden. Thus,the expression of institutionalized middle-class masculinity is contrastedto the representation of an alternative left wing working-class masculinityin opposition to social hierarchy and social inequality. Through differentallusions to heroic men and heroic behaviour in 19th century literature andAmerican Western films the novel invites the reader to evoke hegemonicmasculinity as a schema shaping both the understanding of the young charactersand their play. But the novel also interrogates this institutionalizedmyth of hegemonic masculinity and sets the main character, as well as thereader, in search of an alternative version of the heroic male.
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| 3. |
- Jahlmar, Joakim
(author)
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“Give the devil his due” : Freedom, Damnation, and Milton’s Paradise Lost in Neil Gaiman’s The Sandman:Season of Mists
- 2015
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In: Partial Answers. - : Project Muse. - 1565-3668 .- 1936-9247. ; 13:2, s. 267-286
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Journal article (peer-reviewed)abstract
- In their collection Milton in Popular Culture (2006), Laura Lungers Knoppers and Gregory M. Colón Semenza have established the importance of Miltonic intertextuality in popular culture, while recognizing the importance of William Blake to the field. Blake’s definition of Milton as “a true Poet and of the Devils party without knowing it” in The Marriage of Heaven and Hell (1793) lies at the centre of a main concern of Milton criticism since the poem’s original publication. The debate between Satanists and anti-Satanists goes back even further than Blake and the Romantics, and this central ambivalence is representative of the “discontinuities” and “irresolvable complexities” which Peter C. Herman and Elizabeth Sauer (2012) argue are the focus of interest of the New Milton Criticism.Following this strand of critical thought, this article proposes to show how the introduction of Miltonic intertext into Neil Gaiman’s The Sandman, in issues 21–28, serves to structure the series’ theme of change and death — which involve questions of freedom and teleology, free will and damnation — through a critical dialogue with, and creative rewriting of Miltonic theodicy in the epic poem. Gaiman draws upon the ambivalent theological dimensions of Paradise Lost not to present his own concept of good and evil but rather to discuss the freedom to change and the damnation inherent in the inability to change as part of the human condition.
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| 5. |
- Nordenstam, Anna, et al.
(author)
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Inledning
- 2014
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In: Mångfaldens möjligheter. - Göteborg : Nationella nätverket för svenska med didaktisk inriktning (SMDI). - 9789187850561 ; , s. 9-11
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Book chapter (other academic/artistic)
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| 6. |
- Asplund Carlsson, Maj, 1948-, et al.
(author)
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Spänning och äventyr som läromedel
- 2011
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In: Kritisk läsning av pedagogiska texter. - Lund : Studentlitteratur. - 9789144057057 ; , s. 49-68
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Book chapter (other academic/artistic)
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| 7. |
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| 8. |
- Jahlmar, Joakim
(author)
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Dystopian Chaos, Dystopian Order : Differing Ideological Reinterpretations of the Masked Vigiliante in Miller's The Dark Knight Returns and Moore and Lloyd's V for Vendetta
- 2017
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In: Visions of the Future in Comics. - Jefferson, North Carolina, USA : McFarland. - 9781476668017 - 9781476629360 ; , s. 136-151
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Book chapter (other academic/artistic)abstract
- In the 1980s, the comics’ field in the US, and in particular the superhero genre, was revolutionised by among others Frank Miller and Alan Moore. Jahlmar investigates how Miller, on the one hand, and Moore, in collaboration with David Lloyd, on the other, offer radically different, yet equally ideological reinterpretations of the masked vigilante archetype in Batman: The Dark Knight Returns (1986) and V for Vendetta (1990) respectively. The underlying components in these analyses are dystopian chaos and dystopian order, and the assumption that these categories play into generic expectations in the dystopian genre. Miller’s, and Moore and Lloyd’s reinterpretations of the masked vigilante are diametrically opposed, and Jahlmar argues that this opposition is made possible by the two storyworlds evoked in the respective texts, set in fundamentally different futures.In Miller’s text, dystopian chaos, in the form of rampant criminality, the culture of fear, and the looming threat of nuclear Armageddon, breeds an inherent narrative need for order and consequently allows Batman/Bruce Wayne to become an extreme version of the conservative superhero, at the very least, a figure with crypto-fascist leanings. On the other hand, in Moore and Lloyd’s text, dystopian order, in the form of a de facto fascist government in England, allows for a traditional villain – in structural and ideological terms – like V, to become a hero, and for his acts of terrorism to be understood on some levels through the generic expectations on any opposition to totalitarianism in dystopian fiction in general.
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| 9. |
- Mehrstam, Christian, 1973
(author)
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Under pälsen: Främmandegöringspedagogik och antropomorfa serier
- 2010
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In: Att bygga broar: Sjunde nationella konferensen i svenska med didaktisk inriktning: Malmö den 18-20 november 2009. - Malmö : Nationella nätverket för svenska med didaktisk inriktning. - 1651-9132. - 9197472204 ; , s. 122-131
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Book chapter (peer-reviewed)
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