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- Steiner, Ann, 1968-, et al.
(author)
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En (o)lönsam affär : Förlag och bokutgivare
- 2018
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In: Böckernas tid. - Stockholm : Svenska Förläggareföreningen. - 9789127161443 ; , s. 107-190
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Book chapter (other academic/artistic)
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| 3. |
- Berglund, Karl, 1983-
(author)
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Mordens marknad : Litteratursociologiska studier i det tidiga 2000-talets svenska kriminallitteratur
- 2017
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Doctoral thesis (other academic/artistic)abstract
- This dissertation deals with Swedish crime fiction and its successes on the Swedish book market in the early 2000s. The genre’s expansion, marketing and literary content is mapped and analysed in three studies that together paint a thorough picture of this literary phenomena in Swedish book trade.In study no 1 the development of the genre in Sweden in the last 40 years is discussed from a quantitative perspective. With the base in bibliographies of Swedish crime fiction publication trends are analysed in several ways and concerning topics such as genre growth, gender balance, publishing houses, successful authorships, bestsellers and library lending. The results include: a significant genre expansion in the 2000s; a great dominance for the genre on the bestseller charts in the 2000s; and a shift in the author group, from male dominance to even gender balance.In study no 2 the marketing of the genre is examined through an analysis of book covers, titles and other elements in the concrete packaging of just over 150 Swedish crime fiction paperbacks. With book history as an important theoretical influence book covers and other peritextual elements are understood as a significant part of the marketing of the genre, but also – and wider – as of crucial importance for how genres themselves are established, withheld and re-negotiated in the interplay between different actors in the society of literature – publishers, authors, booksellers, readers.In study no 3 a quantitative content analysis of 116 Swedish crime novels published 1998–2015 is used to chart and discuss recurring themes and tropes within the genre. Focus is primarily directed towards what is understood as the most central parts of crime fiction: murderers and their motives; methods used in committing murder; victims of murder; and detectives and other protagonists. The results include: a distinct dominance of female protagonists; a partial realism, where depictions of everyday life in general is realistic while the murder plots are spectacular and sensational; and a dominance of normality, where main characters and innocent victims confirms normality, while killers and unsympathetic victims are depicted as deviants in stark contrast with normality.
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| 5. |
- Dahlern, Tanja von, 1978-
(author)
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Moving Images of Literature : Transformations of Literature in Contemporary Video and Film Installation Art
- 2015
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Doctoral thesis (other academic/artistic)abstract
- This study aims to contribute to a better understanding of the many engagements with literature beyond the literary field. More specifically, it studies different ways of staging and transforming literature in video and film installation since the 1990s. The dissertation presents a close reading of four artworks, each representing a key approach to transformation: Stan Douglas’ Der Sandmann (1995), based on E.T.A. Hoffmann’s 1817 short story of the same title; Gerard Byrne’s 1984 and Beyond (2005–07), a staging of a conversation between science fiction writers, originally published in Playboy magazine in 1963; Fiona Tan’s Disorient (2009), which takes Marco Polo’s travelogue from the late thirteenth century as its point of departure; and Kutluğ Ataman’s The Complete Works of William Shakespeare (2009), derived from Shakespeare’s plays. Video and film installation occupies an important position in contemporary art, often using pre-existing cultural material from other media. Its specific temporal and spatial structure makes it a particularly rich art form for the study of how literary works are transformed, and what images of literature, in its broadest sense, are used and set in motion. The focus is on processes of transformation through selection and modification, interpretation, reframing, and shift in media. The study is informed by theories from the fields of intertextuality, intermediality, adaptation studies, and artistic appropriation.Each of the artists turn to widely-known works or authors. The approaches to literature range from the projection of alphanumeric text to the staging of a conversation between authors, which shifts the focus from the literary work to the discourses and conditions of literature. It becomes clear that the artists, in their installations, do not necessarily perform retellings of their sources. Literature is discussed in its role as a vehicle for cultural values, as a place where narrative conventions are negotiated, and where cultural space is mediated and constructed. All the studied artists employ a variety of devices of estrangement. The dissertation especially discusses the oscillation between source and derived work in relation to the installations’ self-reflexive form.
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| 8. |
- Gedin, David, 1960-
(author)
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Fältets herrar : Framväxten av en modern författarroll
- 2004
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Doctoral thesis (other academic/artistic)abstract
- The dissertation describes a crucial step in the development of a modern writer's identity in Sweden. It applies the French sociologist Pierre Bourdieu’s theories of the autonomous ”literary field” to the development in eighteen-eighties, one of the most important periods in Swedish literary history.During this decade a large group of authors appeared, with August Strindberg in the front. In accordance with the dominating esthetical view of the nineteenth century, ”ideal realism”, the writers had an ethical responsibility. But they differed from their predecessors by not being loyal to the bourgeois society and its values, as codified in the concept of ”decency”, that contained, among other things, rules for what could be said in public. On the contrary, the new generation of authors attacked the bourgeoisie in novels, dramas and articles, especially in the singularly most controversial area, the regulation of sexuality and the ideals of bourgeois women.This study argues that the new authors in their radical criticism aimed at the position of power in society traditionally upheld by the State church, which supervised education and ethical values. They did this by creating a role for themselves as young and oppressed, something that made it possible to deny any responsibility for the present state and furthermore to speak up, despite their own bourgeois background, for other oppressed groups like the working classes, the poor and women. But this also meant that they could not be successful in their ambitions to gain influence without loosing their identity. This was especially the consequence of the fact that an autonomous ”literary field” did not yet exist. That is, there were no internal literary institutions that, seemingly independent of the rest of society, decided what was ”good literature.” Instead, the singularly most important judge of interesting literature was the bourgeois public. Strindberg seems to have realised this early, and achieved an identity as ”uncontrolled”. He thereby lost his intellectual credibility, but gained a much bigger freedom to write and also got the attention of the large audience. At the same time, his writing undermined the values of decency by breaking the bourgeois society’s fundamental wall between the private and the public sphere, not least by writing what was regarded as facts about his own private life.The conservative reaction accelerated towards the end of the decade while the authors grew more and more bitter about the public’s lack of understanding. At this point the author Verner von Heidenstam took the opportunity to declare a new literary era, dissociating his aesthetics from the one of the Eighties and proclaiming the necessity of an aristocratic, ethically indifferent literature (with himself as its leader).Confronted with the new concept of what ought to be regarded as “modern”, the established male authors were generally quick to separate themselves from the female authors, and to identify the attacked literature solely with the one that critically discussed the situation of women in society - a description that has been largely adopted in the history of literature. A number of male authors also wrote novels separating themselves from the Eighties. Thus, they could continue into the new period, while female authors in general were silenced or forced to write in less esteemed genres (”popular literature”, children’s books).Ultimately the result was a more distinct male domination coupled with a growing contempt for the large audience. This, in turn, created a need for internal institutions that could interpret, value and support literature - scholarships, elitist critics, and a writers’ union. These institutions subsequently were founded or developed during the nineties – all of them steps towards autonomy.
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| 9. |
- Gunder, Anna, 1973-
(author)
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Hyperworks : On Digital Literature and Computer Games
- 2004
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Doctoral thesis (other academic/artistic)abstract
- This study investigates the effects of digitization on literature and literary culture with focus on works of literary fiction and other kinds of works inspired by such works. The concept of “hyperworks” refers to works intended to be navigated multisequentially, i.e. the users create their own paths through the work by making choices. The three articles that make up the dissertation include analyses of individual works as well as discussions of theoretical models and concepts. The study combines perspectives from several theoretical traditions: narratology, hypertext theory, ludology (i.e., game studies), sociology of literature, textual criticism, media theory, and new media studies.The first article examines narrative technique and aspects of ergodicity in the digital hyperwork afternoon, a story (1997) by Michael Joyce. The main focus is on an analysis of the work’s structural organization and narrative technique.The second article proposes a theoretical framework for the analysis of texts and works in different media, especially focusing on the media structure (i.e. linking, navigation, storage, presentation, etc.)The third article analyzes and describes the ludolization, i.e., transposition into game form, of J. K. Rowling’s novel Harry Potter and the Philosopher’s Stone (1997). The study is a comparative analysis of the PC version of the computer game Harry Potter and the Philosopher’s Stone (2001) and the original novel, and discusses the media structure and the narrative/ludic structure of the two works.The concepts of ergodicity, cybertext, and content space are especially central to the study. Among the new concepts introduced are omnidiscourse, omnistory, performed discourse, performed story, lateral structure, hyperliterary competence, core ludic sequence, and performed ludic sequence. Also, a method for the analysis and description of links, i.e. a linkology, is presented along with new terms such as linkarium, ancoral text, adlink, and exlink.
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| 10. |
- Haglund, Tuva, 1986-
(author)
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Tillsammans i Engelsfors : Socialt fiktionsbruk i Engelsforstrilogins digitala fangemenskap 2011–2016
- 2021
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Doctoral thesis (other academic/artistic)abstract
- The thesis examines a digital reading community within a framework of fan culture. This community was formed in the early 2010s by fans of a Swedish fantasy series, The Engelsfors Trilogy (2011–2013), written by Mats Strandberg and Sara Bergmark Elfgren. Fan culture can be described as an interpretative community with established terminology and repertoires. Within a growing participatory culture, fans’ active engagements with fictional worlds have become mainstream, and more broadly spread. My study focuses on the creative practice of fan art, that is stories, pictures and videos created by fans, with an original work as a point of departure. I examine fan art as a form of reader response, expressed and shared within the digital community. The empirical material consists of blog posts (about 800) published between 2011 and 2016 on six different websites. Focusing on the readers of fan culture, my study combines perspectives of sociology of literature and fan studies. I also use theoretical concepts from narratology to discuss relations between the multiple variations of the Engelsfors universe that emerge through fan art. The analysis is partly a quantitative survey covering the art work’s forms and content, as well as contextual aspects of posting and sharing Engelsfors-related material, partly close readings of the most significant motifs: the engagement with fictional characters and romantic readings of the main love story. The approach provides a holistic perspective, unusual in research about fans and reading communities. By comparing the activities in different digital contexts, I argue for more nuanced perspectives on how digital engagements differ in relation to user purposes. The readers’ art works as well as their interaction, centre on the fictive characters, their features, personalities and relationships. Emotional readings comprise a general focus within fan culture, and among Engelsfors fans the emphasis is on strong positive emotions like affection, friendship, security, romance and love. Paying close attention to emotive aspects of how and why reading experiences are being shared has been a key perspective when looking at how different creative and communicative practices relate to different needs and purposes among the fan readers. Critical modifications of the source text are rare, and instead an enthusiastic and affirmative attitude dominates in relation to the authors’ project as well as to fellow fans in the community.
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