The aim of this study is to describe how nature is portrayed in swedish poet and critic Aase Berg?s two earliest Poetry collections, Hos rådjur (1997) and Mörk materia (1999), and how it relates to notions of humanity, culture and civilisation. The concept of ?nature? is problematized in a short survey of how it has been used by and critizised in ecocritical literary theory, which is used as the main theoretical framework for this survey, with an emphasis on selected theoretical concepts by Donna Haraway. As a methodological starting point, ?nature? is tentatively defined as ?that which does not let itself be subsumed under the human, culture or civilisation?, and this definition is contrasted with how the concepts are handled in the texts.The investigation shows that the relationship of nature to the human is a fundamental theme that provides a structure for both Poetry collections.

The paper directs to introduce the turkish literary tradition to an fairly unknown european audience, as well as to present a turkish poet called Orhan Veli. Since there is hardly any literature written within this subject in either swedish or english I have come to the conclusion that the europeans have not yet been subjected to a discussion of this nature. For this reason my main task has been to gather and compose all that has already been written within this matter. I have chosen not to dig deep into such an unexploared subject, but rather offer different types of entries with which further research can be pursued and built upon.The early literature in Turkey consisted mostly of imitations of the well established arabic- and persian traditions. Because of that the turkisk modernism came, in comparison to the rest of Europe, relatively late.

This essay examines the Poetry of the Swedish writer Ivar Conradson (1885-1968). Itanalyzes his work in the context of the European literary scene of the late 19th century, inparticular symbolism and impressionism. Conradson has been considered a symbolist and amysticist by critics and scholars, who claim that his Poetry expresses a strong religious ethos,influenced by biblical rhetoric as regards style.While this study does not refute the common view of Conradson, it argues that his earlyworks differ from his later works, where indeed religious and mystical themes can be found.This difference can thus be seen both on stylistic and thematic levels. Using the structuralistmethod of Roman Jakobson and Jurij Lotman, and a phenomenological analysis based on thephilosophy of Maurice Merleau-Ponty and Hannah Arendt, this study examines bothsymbolist and impressionist stylistic devices and themes in Conradson?s literary debutSkyarne (1906).

Based on the on the assumption that the two recent Swedish Poetry collections mil by Anna Hallberg and mallamerik, mallamer, malameri, mallame, amerik, mallameka, merikka, by Lars Mikael Raattamaa, are constructed with theoretical questions about identity, national identity, language hierarchy and power in mind, this study aims to investigate the ways in which these issues come to expression. Simplified, the term language-Poetry, or språkmaterialism, can be used to describe a language-philosophical Poetry that aims to eliminate the hierarcic structures between writer and reader in a text and invite the reader to become the co-worker of it. The study shows that by different ways of eliminating the centre of the text, the text is made democratical. But one question that this study asks is how can a nation's conventional and standardised written  language ? the language of the centre ? be used to write itself out of this centre into the margin? Stepping from a theoretical background of postcolonial theories on identity and national identity, including reflections as those given by Benedict Anderson, Madan Sarup, Timothy Brennan, Stefan Helgesson and Mia Cuoto, the analysis points out how this Poetry laborates with the terms bugging, repetition, national language identity, and space as poetic material, in order to work in line with ? and contrary to - conceptions of a unified and shared language.

The Swedish contemporary poet Ulf Karl Olov Nilsson (UKON) creates his poems by recycling and manipulating existing material. Though the overall opinion of his work has been positive, the idea that experimental Poetry focus shape on the expense of content has led critics to either interpret the nonsensical and absurd aspects of UKON?s poetics as a consequence of the technical methods he uses to create his Poetry, or to look beyond the nonsensical and absurd aspects to focus the fact that the poems creates meaning at all. The poems of UKON?s sixth collection of poems, Block (2005), differ from each other in many ways: some poems are lists and other revolves around a person ? their content and construction vary and they can hardly be read as an expression of one persons thought.

This essay examines the speaking subject in Katarina Frostenson?s Poetry through a phenomenological perspective. The study is focused on how the subject appears, the relation between the subject?s inner world and the outside world, and the relation between the speaking subject and language. The purpose of the study is to expand the understanding of questions regarding the subject in Frostenson?s Poetry by using a phenomenological approach ? a perspective that is missing in previous studies.

This essay examines the Poetry of the Swedish writer Ivar Conradson (1885-1968). Itanalyzes his work in the context of the European literary scene of the late 19th century, inparticular symbolism and impressionism. Conradson has been considered a symbolist and amysticist by critics and scholars, who claim that his Poetry expresses a strong religious ethos,influenced by biblical rhetoric as regards style.While this study does not refute the common view of Conradson, it argues that his earlyworks differ from his later works, where indeed religious and mystical themes can be found.This difference can thus be seen both on stylistic and thematic levels. Using the structuralistmethod of Roman Jakobson and Jurij Lotman, and a phenomenological analysis based on thephilosophy of Maurice Merleau-Ponty and Hannah Arendt, this study examines bothsymbolist and impressionist stylistic devices and themes in Conradson?s literary debutSkyarne (1906).

A Queer Reading of Charles Bukowski?s Women and Love is a dog from hellThis thesis aims to examine how the representation of gender is portrayed in relation to sex and power in Charles Bukowski?s novel Women and Poetry collection Love is a dog from hell.The theoretical frame of the analysis is based on Judith Butler?s queer theory regarding the heterosexual matrix and gender performativity. The analysis consists of a textual comparison where a specific selection of poems is analysed parallel to the novel to see how they interact and how they oppose each other, through a queer reading.The analysis is divided in three parts where the first one discusses the construction of masculinity in Charles Bukowski?s protagonist Henry Chinaski and how this is presented differently in the two literary genres. The second part reveals how sex is presented in relation to power and how active and passive women are considered as sexually acceptable.

E-books are not yet fully established on the Swedish book market. A frequently discussed theory is that this might be because of a loss in the reading experience. This thesis has the primary purpose to investigate whether the reading experience from E-books differs from the experience of reading a traditional book in paper. The book used for comparation is a Poetry collection named Rakel delat med tio. I have designed the cover and the inlay of this book and as a part of the thesis the working progress is described.

This Master?s thesis explores three contemporary Swedish poets? ? Lars Mikael Raattamaa, Anna Hallberg and Johan Jönson ? understanding of their work as a political activity. By using Jonathan Culler?s theory on literary competence and literary conventions as a theoretical tool for an idea analysis, the three poets' arguments for or against certain literary techniques, and their ideas about readers and reading, are explored and discussed. In what ways are established literary methods questioned by the three poets? In what ways are established theories on readers and reading questioned? In what way can their poetic work be regarded as political? As a background, the debate about Poetry in Swedish newspapers and literary magazines is presented, as well as the common focus on readers and reading in social sciences and in humanities and arts.

Abstract of How to dress a cloud in trousers? ? A comparative analysis of Swedish translations of Vladimir Majakovskij?s PoetryIn this essay I present a comparative analysis of Swedish translations of Vladimir Majakovskij?s poems ??????? ? ??????? and ??? ???? ??????.[1]My ambition is to analyze and understand methods of translation and reasons of devices in transforming Majakovskij?s Poetry into a Swedish language and context. On the basis of my theoretic perspectives (which contain fundamental problems of translation, the development of the subject ?translation? and English translations of Russian texts) I methodically execute a parallel reading of the original poems, literature concerning Majakovskij as a poet and selected, biographic literature with a concentration on the works of the Swedish translator and scientist Bengt Jangfeldt.[2]The chapters of my analysis was formed during my methodic reading of theoretic and biographic literature and creates a frame for my results: the analyze of three different kinds of transforming the Russian rhymes into Swedish, the way of translators actualizing and making poems more understandable by placing it in a different context by changing names/national clichés, the effect of using hard or vulgarized language and the inevitable transformation from Russian to Swedish when translators are showing underlying meanings in the strophes by using more poetic language, a discussion of errors in translation, implicit difficulties in Russian use of certain words and the ideology of Majakovskij?s Poetry and the Swedish publication/relationship to the authorship.[1]?A cloud in trousers? and ?At the top of my voice?[2]An interview with a Russian-speaking reader is also executed for another perspective of the Russian language.

Trough the analyses of three young contemporary Swedish and Norwegian poets, who all in one way or another work with the language as material, I will circulate around the term language materialism. Each poet has his or her specific distinctive feature wich makes them three completely different poets. But they are all challenging the borders of literature and even the grammatical laws of language. Apart from the analyses I sketch an historical line between the predecessors of the experiments with the poetic language in the past, starting with Mallarmé, and the experiments of today. My essay will in conclusion discuss the language Poetry in a wider philosophical point of view, connected to Derrida and Wittgenstein.The first analysis introduces the author and artist Johannes Heldén through his debute Poetry collection Burner.

In this essay I analyze the way my collection of Poetry relates to the concept cyclic. What is cyclic and what different interpretations are there concerning the concept? Which other related concepts are there regarding things that seem to reoccur regularly? How does the cyclical, the circular, relate to the linear in regard, for example, to the perception of time? Life often creates the sense that different phenomena and experiences repeat themselves. Different processes are conducted according to regular or irregular cyclical phases, situations seem familiar and events can be relived.         Starting from my writing project Sinnligt kviller, a collection of poems, I discuss these questions in themselves and the impact they have had on my collection. I describe the phenomenon cyclic as a result of the emotions and moods this term creates in a more or less decisive way.         The intention with this paper is to show how Sinnligt kviller offers different perspectives of and reflections upon the various feelings provoked by the cyclic in our lives, feelings that are given my own voice in the literary text under study..

This bachelor thesis engages in the question of silence in the writings of Fenno-Swedish modernists Mirjam Tuominen and Gunnar Björling, silence being understood as both a poetic theme and a question of literary form. Alongside this exposition runs a discussion about the possibilities and impossibilities of interpretation in the field of academic literary studies. This query is connected to the different ideological positions of the two writers, conjoined by ideas about anti-comprehensibility. Considering certain weaknesses of classical hermeneutics as well as the theory of deconstruction, especially in the case of reading Poetry, this thesis tries to point out possible routs for a practice of a more dynamic interpretation, with special regard to understanding the trope of silence in the modernist Poetry of Tuominen and Björling.The composition explicitly applies a ?method of wandering? inspired by Maurice Blanchot?s understanding of the priests of Dionysus in Hölderlin?s writings ? maundering in the holy night ? as a metaphor for a critique-in-the-creating.

This essay examines the way the recurring motifs in Karin Boye's Poetry might be read as expressions of queer or subversive desire. The fact that the lyrical I is not gendered in the poems opens up for a queer reading. In adherence to Sara Ahmed's notion of desire lines and sexual orientation I discuss the spatial aspects of desire, and explore the positions and movements of the lyrical I in Boye's poetic landscape as deviations from the concept of the straight and marked path, into the queer and unknown.I trace desire in Boye's Poetry mainly through the themes of nature and night, and the ways in which these phenomena deviate from the normative structures laid out by the poems. Usually the motifs of night (such as fog, shadows and darkness) are associated with the fading of the senses. The night obscures the vision of the lyrical I and wraps them in heavy silence, making them experience and desire in new ways. Through motifs related to nature Boye formulates a feminine, matriarchal myth.