The main aim of this study is to analyse the Grotesque characterization of adults in four novels by Roald Dahl, from Michail Bachtin?s definition of the carnival-Grotesque in Rabelais and his world. From this view I have examined how the conflict between children and adults is described in these books, and to what extent the Grotesque motifs have a function in this conflict.For this purpose I have applied theories of the literature-Grotesque by Michail Bachtin, and of the meaning and function and ? in this context ? the necessity of fright and horror in children?s fiction, in particular by Bruno Bettelheim and J.A. Appleyard.

The purpose of this paper is to make a feminist textual analysis of three female protagonists incontemporary novels in order to demonstrate representations of ?skeva? female bodies, deviantfrom beauty-, slender and age norms. The analysis is based on an intersectional perspective whichdemonstrates the interaction between body, sex, gender, class, sexuality and age. The theoreticalmaterial used are class theories by Bourdieu and Skeggs, performative theories by Butler, theoriesof Grotesque realism by Bachtin and the female Grotesque by Russo and Lundberg. The charactersall belong to the genre of the female Grotesque which manifests a feminist protest and a free zonewithin patriarchal power structures.

This essay examines the Grotesque in Samuel Becketts wellknown play Waiting for Godot. The play is primarily seen as an icon of absurdism, and it is such not appropriate to examine the play as if it belongs to the litterary genre of Grotesque. The primary purpose of absurdism is to reveal the pointless- and emptiness of existence. In order to illustrate these points absurdism will often make use of the common characteristics of the Grotesque. With this in mind I present, within this essay, an eximination of whether Samuel Becket makes use of these characteristics to assist his portayal of emptiness in Waiting for Godot.A prior understanding of absurdism is required and i have as such primarly used Martin Esslins famous studies.The studies of the Grotesque are mainly represented by two theorists.

Sweden has an active and growing culture of feminist comic book artists that use comedy as a mean of disseminating political ideas and critic. In this essay I do a reparative reading of Sara Granér?s comic book All I Want for Christmas is planekonomi in order to find out if it advocates alternative orders and/or ways of expression. By exploring what the comic book does to me as a reader and how, using the term ?skev? ? a hybrid of queer that examines normativity not strictly tied to sexuality ? and gulesque theory ? a mix of feminism, cuteness, the Grotesque and riot grrrl ?, I show that the comic book, through the use of comedy, works as a trojan My Little Pony, reclaiming the girly franchise, while challenging several so-called dichotomies, such as: femininity/masculinity; youth/adult; high art/kitsch.

Sweden has an active and growing culture of feminist comic book artists that use comedy as a mean of disseminating political ideas and critic. In this essay I do a reparative reading of Sara Granér?s comic book All I Want for Christmas is planekonomi in order to find out if it advocates alternative orders and/or ways of expression. By exploring what the comic book does to me as a reader and how, using the term ?skev? ? a hybrid of queer that examines normativity not strictly tied to sexuality ? and gulesque theory ? a mix of feminism, cuteness, the Grotesque and riot grrrl ?, I show that the comic book, through the use of comedy, works as a trojan My Little Pony, reclaiming the girly franchise, while challenging several so-called dichotomies, such as: femininity/masculinity; youth/adult; high art/kitsch.

Sonja Åkesson is one of Sweden?s most well known poets. Her most productive period was from 1957 to 1977, and besides poetry she wrote novels and drama. Today, Sonja Åkesson is famous for criticizing society, mostly in a feministic way. But she was not aware of her critical approach until she became successful among her feministic readers in 1960, with poems like ?Äktenskapsfrågan? and ?Självbiografi (replik till Ferlinghetti)?.This essay examines professor Yvonne Hirdman?s theory about women?s inferior position in relation to men?s between 1930-1960 in Sweden.