This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

The aim of this study is to examine new interpretations of homosexuality in Islam based on Scott Kugle?s book ?Homosexuality in Islam? and the documentary ?A Jihad for love? by Parvez Sharma. Through a theological perspective, a critical analysis is performed in order to find new interpretations and compare them with each other and with the Islamic legal tradition. Argumentative analysis is also used for both the book and the documentary for this essay.     Both Kugle and Sharma use new interpretations and arguments about love to find space for homosexuality in Islam. They use a Muslim language to have relevance with their discussions to Muslim readers and viewers.

The aim of this Master?s thesis is to examine how librarians in two Swedish public libraries view the subject of face-front marketing and literary hierarchy. The questions posed in this thesis are: How do two public libraries in Sweden market fictional literature? Which literature does get marketed? How do the librarians view fictional literature? How do the librarians view marketing? and Does Herbert Gans? literary scale work to examine the marketing of fictional literature in two Swedish public libraries? The theoretical starting-points are Niels Ole Pors? thoughts on stock development, Philip Kotler?s thoughts on the responsible non-profit organisation and Herbert Gans? thoughts on taste-publics and taste-cultures. The empirical material was gathered through qualitative interviews with library staff in two public libraries in the south of Sweden, and by reading a sample of the fictional literature exposed in these libraries.

I detta kandidatarbete svarar vi på frågan ?Hur använder man postproduktion som ett retoriskt verktyg för att förstärka en dokumentärfilms budskap??. Retorik står i konflikt med dokumentärfilm. Vi anser att retoriken vill påverka medan en dokumentär vill undervisa. Med hjälp av Aristoteles tre grundlagar för retorik, ethos, logos och pathos, försöker vi påverka tittarens tycke om en dokumentärfilms budskap via postproduktion.

Politics in today's society unfolding more and more in the media, but the media content is limited. Therefore, the media must constantly make choices, choices which are specific to each object. The purpose of this study is to examine how Olof Palme is portrayed as a politician and private individual in the documentary film Palme - älskad och hatad, and also how Carl Bildt is portrayed as a politician and private individual in the documentary film Bildt - excellensen.To study the documentary films I use a qualitative textual analysis with a focus on a narrative analysis. In the narrative analysis, I have been inspired by the categoricalcontent- based approach to study the documentary films. In my analysis, with the help of theories of mediatization of politics, documentaries and stories, I interpret and analyze the films to make them more understandable.The conclusions of the study is that Palme in his role as a politician is portrayed as a humane person who cares about the individual.

In this thesis I have done a discourse analysis of the documentary movie A Jihad for Love. A Jihad for Love came out 2007 and is directed by Parvez Sharma. The documentary movie is about homosexual Muslims and their jihad, struggle, for love and to be accepted in a world where they are barely recognized as a group. My aim of the thesis was to see how the movie portrays the persons who are in the film and their relationship to Islam and who gets access to the religion. I have also analyzed if Islam can be used to strengthen the sexual identity or if it works in the opposite way.

I detta kandidatarbete svarar vi på frågan ?Hur använder man postproduktion som ett retoriskt verktyg för att förstärka en dokumentärfilms budskap??. Retorik står i konflikt med dokumentärfilm. Vi anser att retoriken vill påverka medan en dokumentär vill undervisa. Med hjälp av Aristoteles tre grundlagar för retorik, ethos, logos och pathos, försöker vi påverka tittarens tycke om en dokumentärfilms budskap via postproduktion.

How do you summarize the content of a fictional work, let?s sayLord of the Rings, into a few "telling" words that may represent it? This master?s thesis is a comparative study of how library users? freely chosen tags/keywords deviate from controlled vocabulary made by professional indexers when representing fiction. The thesis answers four main questions:? Do the tags that the library users give fictional works correspond to the categories used in professional indexing in Sweden?? Do the tags follow the standards for vocabulary, semantics and syntax used when indexing professionally?? Do the tags add something to document representations?? Are there differences between the tags used for adult fiction and the tags used for children?s literature?With a starting point in indexing theories of Frederick W. Lancaster, Annelise Pejtersen, and the semiotic theory of the indexing process of Jens-Erik Mai, 383 tags from totally 70 fictional works are analyzed.

För att sammanfatta mitt examensarbete har jag undersökt vad de bakomliggande faktorerna för en bilds genrekategorisering påverkas av, ifall det är innehållet i bilden som påverkar dess effekt eller om det är antingen publikskontexten/produktionskontexten som avgör en bilds genre. Till min hjälp bestämde jag mig för att åka till Japan och träffa en fotograf vid namn Said Karlsson för att genomföra en etnografisk studie och intervjua honom på plats. Dels gjorde jag detta genom att hitta skillnader mellan varandras bilder och att fotografera saker som intresserar mig i Japan som blev en del av min medieproduktion. Vad undersökningen resulterade, med hjälp av intervjun och diskussionerna om varandras bilder, var att en bilds genre avgörs inte av innehållet i en bild, det är i kontextsammanhanget bilden befinner sig inom..

This essay analyzes the production process in connection with the original play Utopia 2012, which premiered at Backa Theatre, Gothenburg, Sweden on 27 October 2012.The aim of the essay is to seek a deeper understanding of this particular production process. No universal process plan was employed when creating Utopia 2012. Therefore, taking into account artistic, technical and administrative aspects of the work, a chronological process map has also been constructed in connection with this essay, in order to clarify each step of the theatrical working process.The theoretical approach is hermeneutic, and the material is based on interviews with key individuals with different professions and functions within the working process in order to gain multifaceted perspectives and results. The interviews took place at Backa Theatre with the exception of those held by telephone with the project?s two producers, both of whom by that time no longer worked at Backa Theatre.The findings of the essay mostly indicate that, with the significant exception of director Mattias Andersson?s artistic vision, no fixed process map nor explicitly articulated common goals were employed in this particular theatre production.

This essay examines fans contributions in a transmedia culture. I examine how fans relate and use the fictional worlds in the creations of their own films. The study focusing on the use of graphical elements and character design in some fan films. The examination is done by using two intertextual theories. One of the theory is Lubomir Dolezel theory on transfictional relationships and the other one is Gérad Genette theory on the realtion in transtextuality.

The objective of this study was to investigate how power relationships between journalists and politicians were shown in the fictional BBC tv-series ?The Hour?. We wanted to investigate how these power structures is narrated by the producers of the series and what impact the narration could have to the audiance of the 21th century.We choose to analyse a total of 12 scenes from all of the six episodes, which are all set in Britain during the beginning of the Suez Canal crisis in the 1950?s, all seen from a BBC editorial point of view.In our analysis we chose to use two different kind of methods, the first one was a situation analysis and the second one a text analysis. The situation method was useful to get a perception of the relations between the participants .The text analysis we used to analyse what was said in the tv-series and to interpret underlying motives.The fictional form necessitated a personalization of power structures, in the sense that each and every power was represented by a single character; political power was for instance represented by the character of Angus McCain.

This work is meant to contribute to the research of adaptation studies by focusing on a special case: the transformation of a fictional diary into a movie. In order to sustain the form of the literary source the adaptation to movie requires certain strategies. Först of all, the diary genre is characterized by a one-dimensional narration. Second, diaries only supply a few written dialogues, hence this "void" has to be compensated and filled by media specific measures. Third, the investigated diary is a story of individualization and emancipation of a single woman.