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This master thesis asks the question “Why are confessions so convincing?”. To provide an answer, I use Austin’s speech act theory to investigate how confessions work within the context of Swedish law. This model was fit for purpose; however, the theory lacks a temporal dimension necessary to understand the mechanisms in play when confessions convince someone. To account for this discrepancy, I use Derek Beach’s process tracing. Given the sometimes-strained relation between law and rhetoric I completed extensive reviews of literature on judicial rhetoric, both historically and contemporary. The current literature suggests that Swedish scholars of law use rhetorical theories more often than expected, however, Swedish scholars of rhetoric seem to interact with law a lot less. One of the findings of this thesis is that a rhetorical perspective, and the perspective from someone outside the field of law, may add significantly to understandings of confessions. Confessions are culturally important and often misunderstood, initially perceived as an unavoidable part of human nature. However, as discussed in this text, confessions are not rooted in human nature, but in cultural conventions, with a historical tradition dating back to the Middle Ages. When researching confessions in general, this paper identifies tensions between three kinds of confessions: religious confessions, juridical confessions, and psychotherapeutic confessions. Ten Swedish judges were interviewed, and 1599 court decisions were analyzed for this paper. Through this material an agreed upon ritual in which confessions become convincing appears. This ritual is however not the only reason why confession become convincing. Confessions can be detailed, coherent, and nuanced, which makes them more believable. The power to convince through confession consists of a complex net of different mechanisms, some based in the law system, and some based in rhetoric.

Astrid Lindgren, Swedish author of children’s books, is knownfor having both composed and edited her literary work in the Melin sys-tem of shorthand (a Swedish shorthand system based on Gabelsberger).Her original drafts and manuscripts are preserved in 670 stenographednotepads kept at the National Library of Sweden and The Swedish Insti-tute of Children’s Books. For long these notepads have been consideredundecipherable and are until recently untouched by research.This paper introduces handwritten text recognition (HTR) and docu-ment image analysis (DIA) approaches to address the challenges inherentin Lindgren’s original drafts and manuscripts. It broadly covers aspectssuch as preprocessing and extraction of words, alignment of transcrip-tions and the fast transcription of large amounts of words.This is the first work to apply HTR and DIA to Gabelsberger-basedshorthand material. In particular, it presents early-stage results whichdemonstrate that these stenographed manuscripts can indeed be tran-scribed, both manually by experts and by employing computerised ap-proaches.

This master thesis asks the question “Why are confessions so convincing?”. To provide an answer, I use Austin’s speech act theory to investigate how confessions work within the context of Swedish law. This model was fit for purpose; however, the theory lacks a temporal dimension necessary to understand the mechanisms in play when confessions convince someone. To account for this discrepancy, I use Derek Beach’s process tracing. Given the sometimes-strained relation between law and rhetoric I completed extensive reviews of literature on judicial rhetoric, both historically and contemporary. The current literature suggests that Swedish scholars of law use rhetorical theories more often than expected, however, Swedish scholars of rhetoric seem to interact with law a lot less. One of the findings of this thesis is that a rhetorical perspective, and the perspective from someone outside the field of law, may add significantly to understandings of confessions. Confessions are culturally important and often misunderstood, initially perceived as an unavoidable part of human nature. However, as discussed in this text, confessions are not rooted in human nature, but in cultural conventions, with a historical tradition dating back to the Middle Ages. When researching confessions in general, this paper identifies tensions between three kinds of confessions: religious confessions, juridical confessions, and psychotherapeutic confessions. Ten Swedish judges were interviewed, and 1599 court decisions were analyzed for this paper. Through this material an agreed upon ritual in which confessions become convincing appears. This ritual is however not the only reason why confession become convincing. Confessions can be detailed, coherent, and nuanced, which makes them more believable. The power to convince through confession consists of a complex net of different mechanisms, some based in the law system, and some based in rhetoric.

Astrid Lindgren is arguably the most famous Swedish author of all times, known for her chil­dren’s books about Pippi Longstocking, the Brothers Lionheart, Ronia the Robber’s Daughter, and many more. Subsequently, her works have been translated into over a hundred languages. In Sweden her books are recognized for their peculiar, playful language, and immersive imag­ination. This paper is examining how that style of writing is translated to other languages. Spe­cifically, Lindgren’s last novel Ronja Rövardotter (1981) and its translations to English, Ronia the Robber’s Daughter (1985), and Dutch, Ronja de Roversdochter (1982), are compared ac­cording to the particular elements that the novel uses to build its own unique feeling: the style of the narrator; the language of the characters; the names; and the illustrations. In the source text these four aspects collaborate to create a medieval fairy tale-like atmosphere, which espe­cially is accomplished by the transformative language which combines older colloquialisms and dialectic words with a poetic phrasing, which is simultaneously unique for this literary work and deeply rooted in Swedish tradition. This is difficult to properly translate to other languages, as it is built upon playfulness with a certain language and culture. Therefore, even though both translations are perfectly valid and retell the story adequately, they both are incapable of fully translating the style of the original. Besides that, other (more deliberate) changes are resulting in a different reading experience – i.e., the inclusion of illustrations, the narrator’s oral (origi­nal)/textual (translated) language, and whether Ronia flees from wild ‘vittror’ (north-Swedish gnome-like creatures), harpies, or bird–witches. Altogether, the English Ronia and the Dutch Ronja are significantly different from the Swedish Ronja, with their own styles, but attributed to the same original author.

Astrid Lindgren is arguably the most famous Swedish author of all times, known for her chil­dren’s books about Pippi Longstocking, the Brothers Lionheart, Ronia the Robber’s Daughter, and many more. Subsequently, her works have been translated into over a hundred languages. In Sweden her books are recognized for their peculiar, playful language, and immersive imag­ination. This paper is examining how that style of writing is translated to other languages. Spe­cifically, Lindgren’s last novel Ronja Rövardotter (1981) and its translations to English, Ronia the Robber’s Daughter (1985), and Dutch, Ronja de Roversdochter (1982), are compared ac­cording to the particular elements that the novel uses to build its own unique feeling: the style of the narrator; the language of the characters; the names; and the illustrations. In the source text these four aspects collaborate to create a medieval fairy tale-like atmosphere, which espe­cially is accomplished by the transformative language which combines older colloquialisms and dialectic words with a poetic phrasing, which is simultaneously unique for this literary work and deeply rooted in Swedish tradition. This is difficult to properly translate to other languages, as it is built upon playfulness with a certain language and culture. Therefore, even though both translations are perfectly valid and retell the story adequately, they both are incapable of fully translating the style of the original. Besides that, other (more deliberate) changes are resulting in a different reading experience – i.e., the inclusion of illustrations, the narrator’s oral (origi­nal)/textual (translated) language, and whether Ronia flees from wild ‘vittror’ (north-Swedish gnome-like creatures), harpies, or bird–witches. Altogether, the English Ronia and the Dutch Ronja are significantly different from the Swedish Ronja, with their own styles, but attributed to the same original author.

L. M. Montgomery’s books about Anne Shirley are classics among girls’ literature. Throughout the twentieth-century new generations of readers have found their ways to engage with her fictional world. How a story resonates differently in different times is partly captured in adaptations. In the case of Anne of Green Gables there have been several, and my paper will discuss the latest, namely the Netflix-production Anne with an E (2017-2020). Like many other tv-shows for young adults a significant part of the storytelling in Anne with an E takes place within fan communities in social media. In fanfiction and fanart the audience transform and add content to the original story, often with contemporary interests in focus. The narrative strategies fan-readers use to expand on the storyworld, have influenced today’s media and popular culture, and Anne with an E is a good example of this. Creator Moira Walley-Beckett adds new elements and characters to, in her own words, “explore important, contemporary themes” that will resonate with the intended audience. Topics such as queer identities, genderfluidity, racism and women’s rights are addressed explicitly, often in obviously anachronistic ways. I will use the context of fandom to examine the chain of transformation from book to adaptation to fan work (more exactly fanfiction from Archiveofourown). The analyse will focus on Diana Barry, one of the original character that is radically rewritten in the tv-show. Walley-Beckett expands on the traditional “good girl” that Diana represents, by exploring themes like class, education and empowerment, a negotiation that continues in the fandom. Looking at these different interpretations of Diana I hope to show how a contemporary audience make Diana relevant for them.

Ingeborg Löfgren, Department of Literature, Uppsala University Con-Science and The Whole: Sara Lidman’s Literary Philosophy (Sam-vettet och Det Hela. Sara Lidmans litterära filosofi) This paper examines the authorship of the Swedish novelist and left-wing activist, Sara Lidman (1923–2004). It argues that by looking at Lidman’s authorship through her invented word “con-science” [“sam-vett”] and the concept of “The Whole” [“Det Hela”], we come to see that Lidman’s authorship comprises a philosophy in literary form: a philosophy about the conditions of human togetherness, understanding, and ethics. Furthermore, the paper argues that this philosophy requires literary expression in order to do its philosophical work. By reading Lidman’s texts in comparison with texts by Ludwig Wittgenstein (1889–1951) and some of his commentators, the paper aims to show how Lidman’s ”con-science” constitutes a poetic and philosophical re-articulation of the question of the meaning of life, which corresponds with an existential vision of the world as “The Whole”.

Ingeborg Löfgren, Department of Literature, Uppsala University Con-Science and The Whole: Sara Lidman’s Literary Philosophy (Sam-vettet och Det Hela. Sara Lidmans litterära filosofi) This paper examines the authorship of the Swedish novelist and left-wing activist, Sara Lidman (1923–2004). It argues that by looking at Lidman’s authorship through her invented word “con-science” [“sam-vett”] and the concept of “The Whole” [“Det Hela”], we come to see that Lidman’s authorship comprises a philosophy in literary form: a philosophy about the conditions of human togetherness, understanding, and ethics. Furthermore, the paper argues that this philosophy requires literary expression in order to do its philosophical work. By reading Lidman’s texts in comparison with texts by Ludwig Wittgenstein (1889–1951) and some of his commentators, the paper aims to show how Lidman’s ”con-science” constitutes a poetic and philosophical re-articulation of the question of the meaning of life, which corresponds with an existential vision of the world as “The Whole”.

Ingeborg Löfgren, Department of Literature, Uppsala University Con-Science and The Whole: Sara Lidman’s Literary Philosophy (Sam-vettet och Det Hela. Sara Lidmans litterära filosofi) This paper examines the authorship of the Swedish novelist and left-wing activist, Sara Lidman (1923–2004). It argues that by looking at Lidman’s authorship through her invented word “con-science” [“sam-vett”] and the concept of “The Whole” [“Det Hela”], we come to see that Lidman’s authorship comprises a philosophy in literary form: a philosophy about the conditions of human togetherness, understanding, and ethics. Furthermore, the paper argues that this philosophy requires literary expression in order to do its philosophical work. By reading Lidman’s texts in comparison with texts by Ludwig Wittgenstein (1889–1951) and some of his commentators, the paper aims to show how Lidman’s ”con-science” constitutes a poetic and philosophical re-articulation of the question of the meaning of life, which corresponds with an existential vision of the world as “The Whole”.

Ingeborg Löfgren, Department of Literature, Uppsala University Con-Science and The Whole: Sara Lidman’s Literary Philosophy (Sam-vettet och Det Hela. Sara Lidmans litterära filosofi) This paper examines the authorship of the Swedish novelist and left-wing activist, Sara Lidman (1923–2004). It argues that by looking at Lidman’s authorship through her invented word “con-science” [“sam-vett”] and the concept of “The Whole” [“Det Hela”], we come to see that Lidman’s authorship comprises a philosophy in literary form: a philosophy about the conditions of human togetherness, understanding, and ethics. Furthermore, the paper argues that this philosophy requires literary expression in order to do its philosophical work. By reading Lidman’s texts in comparison with texts by Ludwig Wittgenstein (1889–1951) and some of his commentators, the paper aims to show how Lidman’s ”con-science” constitutes a poetic and philosophical re-articulation of the question of the meaning of life, which corresponds with an existential vision of the world as “The Whole”.

Ingeborg Löfgren, Department of Literature, Uppsala University Con-Science and The Whole: Sara Lidman’s Literary Philosophy (Sam-vettet och Det Hela. Sara Lidmans litterära filosofi) This paper examines the authorship of the Swedish novelist and left-wing activist, Sara Lidman (1923–2004). It argues that by looking at Lidman’s authorship through her invented word “con-science” [“sam-vett”] and the concept of “The Whole” [“Det Hela”], we come to see that Lidman’s authorship comprises a philosophy in literary form: a philosophy about the conditions of human togetherness, understanding, and ethics. Furthermore, the paper argues that this philosophy requires literary expression in order to do its philosophical work. By reading Lidman’s texts in comparison with texts by Ludwig Wittgenstein (1889–1951) and some of his commentators, the paper aims to show how Lidman’s ”con-science” constitutes a poetic and philosophical re-articulation of the question of the meaning of life, which corresponds with an existential vision of the world as “The Whole”.

The bad girl has been silenced in literature and popular culture. As an undesired or failed version of girlhood, she is rarely allowed to tell her own story. She is the negative counterpart to the proper girl-protagonist. It is no coincidence that we define her through negative terms: she is “bad” and “at risk”. Ulrika Dahl has described this form of femininity as a dead-end, questioning if it is even possible to conceive it as anything else than signs of false consciousness or sexualised subordination (2014: 238). My impression is that today’s authors and readers are trying to find their way out of this dead-end. In my paper I discuss how fans use fan art, fan fiction, and other texts to collectively explore a main character, Vanessa, in the Swedish YA-novels The Engelfors Triology (Bergmark Elfgren and Strandberg 2011–2013). Vanessa is perceived as the stereotypic “bad girl”/”girl at risk”. Associated with hyper-femininity and sexuality, her appearance is portrayed as over-the-top and artificial, with too much exposed skin, curves, make-up, and dark hair roots. She is also marked as low class, and thereby exposed to risks such as social vulnerability, low education, abuse and teen pregnancy (cf. Österlund 2005; Österholm 2012; Dahl 2014; Harris 2004). Still, Vanessa is an example of a fictional bad girl that questions these negative connotations. She is allowed her own voice, without her typical features and appearance being depicted as symptoms of insecurity or social vulnerability. The manner in which fans interact with fictional Vanessa, indicates an awareness of these conditions. Within the fan community appreciation of Vanessa is shown by fans’ active participation in the reconceptualising of the bad girl-figure. The silencing of the bad girl is essential for how fans talk about her. To explain how they see Vanessa, they need to make use of the stereotypical depiction of bad girls, while simultaneously refute the negative connotations, and im

This paper aims to analyze the 19th century novel Money (Original title: ”Pengar”, 1885) by Victoria Benedictsson (1850–1888) and its possible correlation to the contemporary decadence movement. The decadence movement was most prominent at the end of the 19th century, and can be understood as a reactionary movement to modernity in which growing secularization, industrialization, and urbanization create feelings of displacement, moral decay, and anxiety, all of which shows in the literature belonging to this genre. The method used for this paper is a comparative analysis of decadent themes and motifs used in the novel. As a reference point I use a number of literature scientific and idea-historical works made on decadence, as well as on the authorship of Benedictsson. The analysis is divided into seven sections. The first section discusses one of the novel’s more prominent themes: the will and ability to act. The second part deals with themes of illness and flower metaphors. The third section looks at signs of secularization and religious themes. The fourth discusses disillusionment of previously romanticized ideas and the upheaval of values. The fifth examines feelings of anxiety and pessimism. The sixth section focuses on gender roles and fear of the sexual. The seventh section examines how the view on money changes throughout the novel. The paper ends in a summarized discussion of the analysis. The results I have gathered in this paper show that the novel contains a number of common themes of decadence, but also that these almost always are paired with a moral argument that advocates for societal change. The main source for the decadence experienced in the novel is the marriage and its inequality. Because of the marriage, the protagonist sees herself having turned into a ”fallen” woman and experiences strong feelings of anxiety and pessimism. Due to this, the novel can be seen to contain a characteristic decadent fall in which the main character is experiencing th

This paper aims to analyze the 19th century novel Money (Original title: ”Pengar”, 1885) by Victoria Benedictsson (1850–1888) and its possible correlation to the contemporary decadence movement. The decadence movement was most prominent at the end of the 19th century, and can be understood as a reactionary movement to modernity in which growing secularization, industrialization, and urbanization create feelings of displacement, moral decay, and anxiety, all of which shows in the literature belonging to this genre. The method used for this paper is a comparative analysis of decadent themes and motifs used in the novel. As a reference point I use a number of literature scientific and idea-historical works made on decadence, as well as on the authorship of Benedictsson. The analysis is divided into seven sections. The first section discusses one of the novel’s more prominent themes: the will and ability to act. The second part deals with themes of illness and flower metaphors. The third section looks at signs of secularization and religious themes. The fourth discusses disillusionment of previously romanticized ideas and the upheaval of values. The fifth examines feelings of anxiety and pessimism. The sixth section focuses on gender roles and fear of the sexual. The seventh section examines how the view on money changes throughout the novel. The paper ends in a summarized discussion of the analysis. The results I have gathered in this paper show that the novel contains a number of common themes of decadence, but also that these almost always are paired with a moral argument that advocates for societal change. The main source for the decadence experienced in the novel is the marriage and its inequality. Because of the marriage, the protagonist sees herself having turned into a ”fallen” woman and experiences strong feelings of anxiety and pessimism. Due to this, the novel can be seen to contain a characteristic decadent fall in which the main character is experiencing th

There is widespread agreement that human beings need to respect the non-human world, sentient and non-sentient, and refrain from harming and ravaging it. But how can such respect be strengthened by a principled justification, and what type of justification is most effective? Strategies of justification can refer anthropocentrically to our need for a viable environment or ecocentrically to nature’s inherent value. The latter option is preferable as a stronger warranty for environmental protection. Ecocentrism can in turn be grounded in a presumed transcendent spirituality embodied in or reflected by nature. However, in the secularized social arena this carries little conviction. For an ecocentric respect for nature, the paper therefore suggests a naturalistic justification, i.e., without reference to transcendent or supernatural entities. This justification is divided into two types, one each for sentient and non-sentient elements which between them provide a good coverage of the spectrum of nature. In both cases the philosophy of Friedrich Nietzsche is appropriated because it uniquely combines the two requisite but divergent forms of inspiration. Empathy-based respect for animals as sentient beings can be strengthened by Nietzsche’s elaboration of the similarity between human and non-human life. Respect for plants, seen as non-sentient beings, and for inorganic nature can be supported by Nietzsche’s radical emphasis on nature’s resistance to human thought and the human sense of order. The paper suggests that this view of nature as awe-inspiring otherness can foster respect for the non-sentient elements of nature with which we cannot readily empathize.

Imaginative literature in Swedish schools is beset by a conflict of goals. It is initially and generally presented in the curriculum as a resource for personal development, insights into the mindset of other people, and the strengthening of democratic values. However, going further in the official school guidelines this literary orientation is supplanted by an instrumental orientation emphasizing technical reading skills, linguistic proficiency, fact-finding and precise grading criteria.This conflict has been subject to considerable research on a theoretical level. The reading project presented here, by contrast, studies an exceptionally large corpus of 25 teachers and 1 200 students empirically to see how they react to the conflict of goals in five major areas: Legitimation, Learning, Gender and age, Teaching and Valorisation. In this paper, the project design is grounded, presentedand combined with a discussion about the relevance – and potential – of literary fiction based on some preliminary results.

Imaginative literature in Swedish schools is beset by a conflict of goals. It is initially and generally presented in the curriculum as a resource for personal development, insights into the mindset of other people, and the strengthening of democratic values. However, going further in the official school guidelines this literary orientation is supplanted by an instrumental orientation emphasizing technical reading skills, linguistic proficiency, fact-finding and precise grading criteria.This conflict has been subject to considerable research on a theoretical level. The reading project presented here, by contrast, studies an exceptionally large corpus of 25 teachers and 1 200 students empirically to see how they react to the conflict of goals in five major areas: Legitimation, Learning, Gender and age, Teaching and Valorisation. In this paper, the project design is grounded, presentedand combined with a discussion about the relevance – and potential – of literary fiction based on some preliminary results.

This paper investigates consumption patterns in digital subscription-based streaming services for books by means of a large-scale dataset derived from Storytel. The aim is twofold: to empirically discuss how book consumption in the commercial top segment diverges between print books and digital streaming platforms, and to conceptually show the usefulness and considerable possibilities with computational approaches for digital publishing studies and contemporary book history. This is accomplished by introducing the concept of the beststreamer, and the average finishing degree measure. The empirical output shows large differences between print bestsellers and digital beststreamers, both in terms of genre distributions, finished streams, and levels of completion. These results are discussed in relation to factors fostering consumption patterns, such as platform design, pricing models, supply, marketing, customer base, and media-specific features of the audiobook.

This paper investigates consumption patterns in digital subscription-based streaming services for books by means of a large-scale dataset derived from Storytel. The aim is twofold: to empirically discuss how book consumption in the commercial top segment diverges between print books and digital streaming platforms, and to conceptually show the usefulness and considerable possibilities with computational approaches for digital publishing studies and contemporary book history. This is accomplished by introducing the concept of the beststreamer, and the average finishing degree measure. The empirical output shows large differences between print bestsellers and digital beststreamers, both in terms of genre distributions, finished streams, and levels of completion. These results are discussed in relation to factors fostering consumption patterns, such as platform design, pricing models, supply, marketing, customer base, and media-specific features of the audiobook.

This paper investigates consumption patterns in digital subscription-based streaming services for books by means of a large-scale dataset derived from Storytel. The aim is twofold: to empirically discuss how book consumption in the commercial top segment diverges between print books and digital streaming platforms, and to conceptually show the usefulness and considerable possibilities with computational approaches for digital publishing studies and contemporary book history. This is accomplished by introducing the concept of the beststreamer, and the average finishing degree measure. The empirical output shows large differences between print bestsellers and digital beststreamers, both in terms of genre distributions, finished streams, and levels of completion. These results are discussed in relation to factors fostering consumption patterns, such as platform design, pricing models, supply, marketing, customer base, and media-specific features of the audiobook.

This paper investigates consumption patterns in digital subscription-based streaming services for books by means of a large-scale dataset derived from Storytel. The aim is twofold: to empirically discuss how book consumption in the commercial top segment diverges between print books and digital streaming platforms, and to conceptually show the usefulness and considerable possibilities with computational approaches for digital publishing studies and contemporary book history. This is accomplished by introducing the concept of the beststreamer, and the average finishing degree measure. The empirical output shows large differences between print bestsellers and digital beststreamers, both in terms of genre distributions, finished streams, and levels of completion. These results are discussed in relation to factors fostering consumption patterns, such as platform design, pricing models, supply, marketing, customer base, and media-specific features of the audiobook.

This paper investigates consumption patterns in digital subscription-based streaming services for books by means of a large-scale dataset derived from Storytel. The aim is twofold: to empirically discuss how book consumption in the commercial top segment diverges between print books and digital streaming platforms, and to conceptually show the usefulness and considerable possibilities with computational approaches for digital publishing studies and contemporary book history. This is accomplished by introducing the concept of the beststreamer, and the average finishing degree measure. The empirical output shows large differences between print bestsellers and digital beststreamers, both in terms of genre distributions, finished streams, and levels of completion. These results are discussed in relation to factors fostering consumption patterns, such as platform design, pricing models, supply, marketing, customer base, and media-specific features of the audiobook.

This dissertation examines the concept of anonymous writing where the focus of the study more specifically lies on pseudonymity and the notion that most pseudonymous authors – more often than not – choose to write with different pen names as opposed to just one. The French literary theorist, Gérard Genette, explains this phenomenon by describing pseudonym-use as an addiction that quite simply tends to cause authors to overdose in an abundance of fictitious names. Such was the case with many Scandinavian authors such as Søren Kierkegaard, Karen Blixen, and Victoria Benedictsson– all of which used different pen names but their cases of polypseudonymity differ greatly. To better understand why this is, I´ve chosen to limit my study to the latter of the three and her most-used pseudonyms: Tardif, O. Tvist, and Ernst Ahlgren. Benedictsson’s case can quite simply be considered unique since her latest pseudonym, E. A., was her alter ego and thus an intricate part of her writer persona. Alongside Gérard Genette’s, this paper greatly relies on the French philosopher Michel Foucault’s studies of anonymous practices in order to determine the functions that are most often attributed to pseudonyms. Most commonly, pseudonyms can be seen as a technique that serves to hide the author’s identity; to help improve their chances at publication. Furthermore, pen names can have the ability to enrich the status of the name and, thus, the influence and the effect of the literary work itself. In accordance with all names – fictional or not – pseudonyms may also have a classifying function, as well as a symbolic one. These general functions are examined through Benedictsson’s example where her pseudonyms are analyzed both individually and in comparison to one another. Their functions are largely dependant on the situation and context in which the pseudonyms were used. In other words, they differ greatly in regards to the person that the author corresponded with, as well as the type of media

This dissertation examines the concept of anonymous writing where the focus of the study more specifically lies on pseudonymity and the notion that most pseudonymous authors – more often than not – choose to write with different pen names as opposed to just one. The French literary theorist, Gérard Genette, explains this phenomenon by describing pseudonym-use as an addiction that quite simply tends to cause authors to overdose in an abundance of fictitious names. Such was the case with many Scandinavian authors such as Søren Kierkegaard, Karen Blixen, and Victoria Benedictsson– all of which used different pen names but their cases of polypseudonymity differ greatly. To better understand why this is, I´ve chosen to limit my study to the latter of the three and her most-used pseudonyms: Tardif, O. Tvist, and Ernst Ahlgren. Benedictsson’s case can quite simply be considered unique since her latest pseudonym, E. A., was her alter ego and thus an intricate part of her writer persona. Alongside Gérard Genette’s, this paper greatly relies on the French philosopher Michel Foucault’s studies of anonymous practices in order to determine the functions that are most often attributed to pseudonyms. Most commonly, pseudonyms can be seen as a technique that serves to hide the author’s identity; to help improve their chances at publication. Furthermore, pen names can have the ability to enrich the status of the name and, thus, the influence and the effect of the literary work itself. In accordance with all names – fictional or not – pseudonyms may also have a classifying function, as well as a symbolic one. These general functions are examined through Benedictsson’s example where her pseudonyms are analyzed both individually and in comparison to one another. Their functions are largely dependant on the situation and context in which the pseudonyms were used. In other words, they differ greatly in regards to the person that the author corresponded with, as well as the type of media

This master’s thesis considers the differences between the minority literature from Friesland, a province in the northwest of the Netherlands, and that of the Swedish-speaking part of Finland. The author of this paper tries to draw attention to the literatures of those minorities, which often are not well-known outside their own regions. The main issue discussed in this paper is: How is minority culture problematized in the novels de fûke (1966) by the Frisian author Rink van der Velde and Där vi en gång gått (2006) by the Finland-Swedish author Kjell Westö? The Frisian population in the Netherlands is considered by many as a very old people, because famous writers of the Roman Empire, such as Pliny the Elder, wrote specifically about their region and its people. Despite this, the Frisian language has been in a peripheral situation for many centuries. The Swedish minority in Finland, on the contrary, is much younger. Finland gained autonomy in 1809 and before that time the region currently known as Finland, was the eastern part of the Kingdom of Sweden. This meant that Swedish was the predominant language until that year. Later on Finnish became the main language in Finland. However, both the Frisian and the Finland-Swedish literature were not established before the nineteenth century. This changed partially as a result of ideas of the Romanticism, but also because of historical reasons. By analyzing the previously mentioned novels, Oetze Deelstra shows how the minorities in both countries fare in opposite situations. The Swedish-speaking population has often been, and continues to be, examined as upper-class. On the other hand, in Frisia should a very old countryside culture has been preserved. Those ideas have been important in forming the images of both minorities. A noticeable distinction is that the Frisian literature is defined by language, while the Finland-Swedish literature is characterized by political and ideological arguments., Dizze masterskripsje rjochtet him op de ferskillen tusken de literatuer fan Fryslân en dy fan de Sweedsktalige minderheid yn Finlân. De skriuwer fan dit wurk besiket op dy wize mear omtinken te freegjen foar de literatuer fan dizze minderheden, dy’t faak net sa bekend is bûten de eigen regio. De fraach dy’t sintraal stiet is: Op hokker wize wurdt stal jûn oan minderhedeproblematyk yn de romans de fûke (1966) fan de Fryske skriuwer Rink van der Velde en Där vi en gång gått (2006) fan de Finlânsweedske skriuwer Kjell Westö? Faak wurde de Friezen beskôge as in âld folk. Mooglik komt dat trochdat se al neamd wurde soene troch ferneamde skriuwers fan it Romeinske Ryk, lyk as Plinius de Aldere. Dochs hat it Frysk iuwenlang in net al te wichtige rol spile yn Fryslân en dêrbûten. De Sweedske minderheid yn Finlân is lykwols folle jonger. Finlân is pas sûnt 1809 autonoom en foar dy tiid wie dat wat wy hjoed-de-dei Finlân neame, it eastlike diel fan it Sweedske Ryk. Dat betsjut ek dat it Sweedsk oant doe ta de oerhearskjende taal wie. Letter waard it Finsk de wichtichste taal yn Finlân. Sawol de Fryske as de Finlânsweedske literatuer wiene lykwols net fêstige foar de njoggentjinde iuw. Dat feroaret pas yn de Romantyk, foar in diel fanwege de idealen út dy tiid, mar ek om politike redenen. Troch de earderneamde romans te analysearjen, lit Oetze Deelstra sjen hoe’t de minderheden fan beide lannen eins yn tsjinstelde situaasjes operearje. De Sweedsktalige befolking fan Finlân is faak, en wurdt no noch hieltyd, besjoen as de boppeklasse. Yn Fryslân soe oan ’e oare kant in iuwenâlde lanboutradysje bewarre bleaun wêze. Dizze opfettings hawwe wichtich west foar de byldfoarming fan beide minderheden. In opfallend ferskil is dat de Fryske literatuer fan de eigen taal út definiearre wurdt, wylst de Finlânsweedske literatuer karakterisearre wurdt troch politike en ideologyske útgongspunten.

CLARIN is a European Research Infrastructure Consortium (ERIC), which aims at (a) making extensive language-based materials available as primary research data to the humanities and social sciences (HSS); and (b) offering state-of-the-art language technology (LT) as an eresearch tool for this purpose, positioning CLARIN centrally in what is often referred to as the digital humanities (DH). The Swedish CLARIN node Swe-Clarin was established in 2015 with funding from the Swedish Research Council. In this paper, we describe the composition and activities of Swe-Clarin, aiming at meeting the requirements of all HSS and other researchers whose research involves using text and speech as primary research data, and spreading the awareness of what Swe-Clarin can offer these research communities. We focus on one of the central means for doing this: pilot projects conducted in collaboration between HSS researchers and Swe-Clarin, together formulating a research question, the addressing of which requires working with large language-based materials. Four such pilot projects are described in more detail, illustrating research on rhetorical history, second-language acquisition, literature, and political science. A common thread to these projects is an aspiration to meet the challenge of conducting research on the basis of very large amounts of textual data in a consistent way without losing sight of the individual cases making up the mass of data, i.e., to be able to move between Moretti’s “distant” and “close reading” modes. While the pilot projects clearly make substantial contributions to DH, they also reveal some needs for more development, and in particular a need for document-level access to the text materials. As a consequence of this, work has now been initiated in Swe-Clarin to meet this need, so that Swe-Clarin together with HSS scholars investigating intricate research questions can take on the methodological challenges of big-data language-based digital humanities.

CLARIN is a European Research Infrastructure Consortium (ERIC), which aims at (a) making extensive language-based materials available as primary research data to the humanities and social sciences (HSS); and (b) offering state-of-the-art language technology (LT) as an eresearch tool for this purpose, positioning CLARIN centrally in what is often referred to as the digital humanities (DH). The Swedish CLARIN node Swe-Clarin was established in 2015 with funding from the Swedish Research Council. In this paper, we describe the composition and activities of Swe-Clarin, aiming at meeting the requirements of all HSS and other researchers whose research involves using text and speech as primary research data, and spreading the awareness of what Swe-Clarin can offer these research communities. We focus on one of the central means for doing this: pilot projects conducted in collaboration between HSS researchers and Swe-Clarin, together formulating a research question, the addressing of which requires working with large language-based materials. Four such pilot projects are described in more detail, illustrating research on rhetorical history, second-language acquisition, literature, and political science. A common thread to these projects is an aspiration to meet the challenge of conducting research on the basis of very large amounts of textual data in a consistent way without losing sight of the individual cases making up the mass of data, i.e., to be able to move between Moretti’s “distant” and “close reading” modes. While the pilot projects clearly make substantial contributions to DH, they also reveal some needs for more development, and in particular a need for document-level access to the text materials. As a consequence of this, work has now been initiated in Swe-Clarin to meet this need, so that Swe-Clarin together with HSS scholars investigating intricate research questions can take on the methodological challenges of big-data language-based digital humanities.

CLARIN is a European Research Infrastructure Consortium (ERIC), which aims at (a) making extensive language-based materials available as primary research data to the humanities and social sciences (HSS); and (b) offering state-of-the-art language technology (LT) as an eresearch tool for this purpose, positioning CLARIN centrally in what is often referred to as the digital humanities (DH). The Swedish CLARIN node Swe-Clarin was established in 2015 with funding from the Swedish Research Council. In this paper, we describe the composition and activities of Swe-Clarin, aiming at meeting the requirements of all HSS and other researchers whose research involves using text and speech as primary research data, and spreading the awareness of what Swe-Clarin can offer these research communities. We focus on one of the central means for doing this: pilot projects conducted in collaboration between HSS researchers and Swe-Clarin, together formulating a research question, the addressing of which requires working with large language-based materials. Four such pilot projects are described in more detail, illustrating research on rhetorical history, second-language acquisition, literature, and political science. A common thread to these projects is an aspiration to meet the challenge of conducting research on the basis of very large amounts of textual data in a consistent way without losing sight of the individual cases making up the mass of data, i.e., to be able to move between Moretti’s “distant” and “close reading” modes. While the pilot projects clearly make substantial contributions to DH, they also reveal some needs for more development, and in particular a need for document-level access to the text materials. As a consequence of this, work has now been initiated in Swe-Clarin to meet this need, so that Swe-Clarin together with HSS scholars investigating intricate research questions can take on the methodological challenges of big-data language-based digital humanities.

This master’s thesis considers the differences between the minority literature from Friesland, a province in the northwest of the Netherlands, and that of the Swedish-speaking part of Finland. The author of this paper tries to draw attention to the literatures of those minorities, which often are not well-known outside their own regions. The main issue discussed in this paper is: How is minority culture problematized in the novels de fûke (1966) by the Frisian author Rink van der Velde and Där vi en gång gått (2006) by the Finland-Swedish author Kjell Westö? The Frisian population in the Netherlands is considered by many as a very old people, because famous writers of the Roman Empire, such as Pliny the Elder, wrote specifically about their region and its people. Despite this, the Frisian language has been in a peripheral situation for many centuries. The Swedish minority in Finland, on the contrary, is much younger. Finland gained autonomy in 1809 and before that time the region currently known as Finland, was the eastern part of the Kingdom of Sweden. This meant that Swedish was the predominant language until that year. Later on Finnish became the main language in Finland. However, both the Frisian and the Finland-Swedish literature were not established before the nineteenth century. This changed partially as a result of ideas of the Romanticism, but also because of historical reasons. By analyzing the previously mentioned novels, Oetze Deelstra shows how the minorities in both countries fare in opposite situations. The Swedish-speaking population has often been, and continues to be, examined as upper-class. On the other hand, in Frisia should a very old countryside culture has been preserved. Those ideas have been important in forming the images of both minorities. A noticeable distinction is that the Frisian literature is defined by language, while the Finland-Swedish literature is characterized by political and ideological arguments., Dizze masterskripsje rjochtet him op de ferskillen tusken de literatuer fan Fryslân en dy fan de Sweedsktalige minderheid yn Finlân. De skriuwer fan dit wurk besiket op dy wize mear omtinken te freegjen foar de literatuer fan dizze minderheden, dy’t faak net sa bekend is bûten de eigen regio. De fraach dy’t sintraal stiet is: Op hokker wize wurdt stal jûn oan minderhedeproblematyk yn de romans de fûke (1966) fan de Fryske skriuwer Rink van der Velde en Där vi en gång gått (2006) fan de Finlânsweedske skriuwer Kjell Westö? Faak wurde de Friezen beskôge as in âld folk. Mooglik komt dat trochdat se al neamd wurde soene troch ferneamde skriuwers fan it Romeinske Ryk, lyk as Plinius de Aldere. Dochs hat it Frysk iuwenlang in net al te wichtige rol spile yn Fryslân en dêrbûten. De Sweedske minderheid yn Finlân is lykwols folle jonger. Finlân is pas sûnt 1809 autonoom en foar dy tiid wie dat wat wy hjoed-de-dei Finlân neame, it eastlike diel fan it Sweedske Ryk. Dat betsjut ek dat it Sweedsk oant doe ta de oerhearskjende taal wie. Letter waard it Finsk de wichtichste taal yn Finlân. Sawol de Fryske as de Finlânsweedske literatuer wiene lykwols net fêstige foar de njoggentjinde iuw. Dat feroaret pas yn de Romantyk, foar in diel fanwege de idealen út dy tiid, mar ek om politike redenen. Troch de earderneamde romans te analysearjen, lit Oetze Deelstra sjen hoe’t de minderheden fan beide lannen eins yn tsjinstelde situaasjes operearje. De Sweedsktalige befolking fan Finlân is faak, en wurdt no noch hieltyd, besjoen as de boppeklasse. Yn Fryslân soe oan ’e oare kant in iuwenâlde lanboutradysje bewarre bleaun wêze. Dizze opfettings hawwe wichtich west foar de byldfoarming fan beide minderheden. In opfallend ferskil is dat de Fryske literatuer fan de eigen taal út definiearre wurdt, wylst de Finlânsweedske literatuer karakterisearre wurdt troch politike en ideologyske útgongspunten.

CLARIN is a European Research Infrastructure Consortium (ERIC), which aims at (a) making extensive language-based materials available as primary research data to the humanities and social sciences (HSS); and (b) offering state-of-the-art language technology (LT) as an eresearch tool for this purpose, positioning CLARIN centrally in what is often referred to as the digital humanities (DH). The Swedish CLARIN node Swe-Clarin was established in 2015 with funding from the Swedish Research Council. In this paper, we describe the composition and activities of Swe-Clarin, aiming at meeting the requirements of all HSS and other researchers whose research involves using text and speech as primary research data, and spreading the awareness of what Swe-Clarin can offer these research communities. We focus on one of the central means for doing this: pilot projects conducted in collaboration between HSS researchers and Swe-Clarin, together formulating a research question, the addressing of which requires working with large language-based materials. Four such pilot projects are described in more detail, illustrating research on rhetorical history, second-language acquisition, literature, and political science. A common thread to these projects is an aspiration to meet the challenge of conducting research on the basis of very large amounts of textual data in a consistent way without losing sight of the individual cases making up the mass of data, i.e., to be able to move between Moretti’s “distant” and “close reading” modes. While the pilot projects clearly make substantial contributions to DH, they also reveal some needs for more development, and in particular a need for document-level access to the text materials. As a consequence of this, work has now been initiated in Swe-Clarin to meet this need, so that Swe-Clarin together with HSS scholars investigating intricate research questions can take on the methodological challenges of big-data language-based digital humanities.

CLARIN is a European Research Infrastructure Consortium (ERIC), which aims at (a) making extensive language-based materials available as primary research data to the humanities and social sciences (HSS); and (b) offering state-of-the-art language technology (LT) as an eresearch tool for this purpose, positioning CLARIN centrally in what is often referred to as the digital humanities (DH). The Swedish CLARIN node Swe-Clarin was established in 2015 with funding from the Swedish Research Council. In this paper, we describe the composition and activities of Swe-Clarin, aiming at meeting the requirements of all HSS and other researchers whose research involves using text and speech as primary research data, and spreading the awareness of what Swe-Clarin can offer these research communities. We focus on one of the central means for doing this: pilot projects conducted in collaboration between HSS researchers and Swe-Clarin, together formulating a research question, the addressing of which requires working with large language-based materials. Four such pilot projects are described in more detail, illustrating research on rhetorical history, second-language acquisition, literature, and political science. A common thread to these projects is an aspiration to meet the challenge of conducting research on the basis of very large amounts of textual data in a consistent way without losing sight of the individual cases making up the mass of data, i.e., to be able to move between Moretti’s “distant” and “close reading” modes. While the pilot projects clearly make substantial contributions to DH, they also reveal some needs for more development, and in particular a need for document-level access to the text materials. As a consequence of this, work has now been initiated in Swe-Clarin to meet this need, so that Swe-Clarin together with HSS scholars investigating intricate research questions can take on the methodological challenges of big-data language-based digital humanities.

This paper compares publishing in two European countries with fixed respective free book prices: Germany and Sweden, when it comes to the phenomenon vertical integration. Concentration of media ownership is a central issue in today’s global publishing industry and large international media groups are consolidating at a fast pace, taking over more and more links in the value chain of books. One of the foremost examples is Amazon—established in Germany and fast expanding in Europe, but not yet present in Sweden. This paper presents a broad overview of the two markets and interviews with several actors in the German and Swedish book trades are analyzed and compared. Amazon’s impact on the respective book markets as well as strategies for independent publishers are discussed. The question whether concentration of media ownership in the book trade affects publishing and distribution of “quality literature” is also raised., Villkor och överlevnad: förlagsstrategier och positionering på den svenska bokmarknaden

This paper compares publishing in two European countries with fixed respective free book prices: Germany and Sweden, when it comes to the phenomenon vertical integration. Concentration of media ownership is a central issue in today’s global publishing industry and large international media groups are consolidating at a fast pace, taking over more and more links in the value chain of books. One of the foremost examples is Amazon—established in Germany and fast expanding in Europe, but not yet present in Sweden. This paper presents a broad overview of the two markets and interviews with several actors in the German and Swedish book trades are analyzed and compared. Amazon’s impact on the respective book markets as well as strategies for independent publishers are discussed. The question whether concentration of media ownership in the book trade affects publishing and distribution of “quality literature” is also raised., Villkor och överlevnad: förlagsstrategier och positionering på den svenska bokmarknaden

This paper compares publishing in two European countries with fixed respective free book prices: Germany and Sweden, when it comes to the phenomenon vertical integration. Concentration of media ownership is a central issue in today’s global publishing industry and large international media groups are consolidating at a fast pace, taking over more and more links in the value chain of books. One of the foremost examples is Amazon—established in Germany and fast expanding in Europe, but not yet present in Sweden. This paper presents a broad overview of the two markets and interviews with several actors in the German and Swedish book trades are analyzed and compared. Amazon’s impact on the respective book markets as well as strategies for independent publishers are discussed. The question whether concentration of media ownership in the book trade affects publishing and distribution of “quality literature” is also raised., Villkor och överlevnad: förlagsstrategier och positionering på den svenska bokmarknaden

This paper compares publishing in two European countries with fixed respective free book prices: Germany and Sweden, when it comes to the phenomenon vertical integration. Concentration of media ownership is a central issue in today’s global publishing industry and large international media groups are consolidating at a fast pace, taking over more and more links in the value chain of books. One of the foremost examples is Amazon—established in Germany and fast expanding in Europe, but not yet present in Sweden. This paper presents a broad overview of the two markets and interviews with several actors in the German and Swedish book trades are analyzed and compared. Amazon’s impact on the respective book markets as well as strategies for independent publishers are discussed. The question whether concentration of media ownership in the book trade affects publishing and distribution of “quality literature” is also raised., Villkor och överlevnad: förlagsstrategier och positionering på den svenska bokmarknaden

This paper compares publishing in two European countries with fixed respective free book prices: Germany and Sweden, when it comes to the phenomenon vertical integration. Concentration of media ownership is a central issue in today’s global publishing industry and large international media groups are consolidating at a fast pace, taking over more and more links in the value chain of books. One of the foremost examples is Amazon—established in Germany and fast expanding in Europe, but not yet present in Sweden. This paper presents a broad overview of the two markets and interviews with several actors in the German and Swedish book trades are analyzed and compared. Amazon’s impact on the respective book markets as well as strategies for independent publishers are discussed. The question whether concentration of media ownership in the book trade affects publishing and distribution of “quality literature” is also raised., Villkor och överlevnad: förlagsstrategier och positionering på den svenska bokmarknaden

Sara Stymne, Department of Linguistics and Philology, Uppsala University Johan Svedjedal, Department of Literature, Uppsala University Carin Östman, Department of Scandinavian Languages, Uppsala University Linguistic Rhythm in Narrative Prose: the case of Karin Boye’s Kallocain (Språklig rytm i skönlitterär prosa. En fallstudie i Karin Boyes Kallocain) The concept of rhythm in prose is ambiguous, and there is no consensus on how to define it. In this work, we focus on linguistic rhythm, at word, sentence and paragraph levels. We adopt and slightly extend rhythm indicators used in previous research, and show that these can be calculated fully automatically, on a much larger scale than previously done. We adopt the Swedish poet and novelist Karin Boye’s (1900–41) novel Kallocain (1940), as a case study. It is an icily dystopian depiction of a totalitarian future, where the protagonist Leo Kall first embraces this system, but for various reasons later rebels against it. The peripety comes when he gives a public speech, questioning the State. It has been pointed out that the novel from precisely this point on is characterized by a much freer rhythm, and that Boye as an author had considerable interest in questions of linguistic rhythm. This paper sets out to test this hypothesis by applying sixteen indicators of linguistic rhythm in narrative prose (such as word length, sentence length, ratio of punctuation, etc.). We first note that we can expect differences between narrative and dialogue and limit most of our study to the first-person narrative. We find that there are significant differences mainly between phrase and word lengths in the parts before and after Leo Kall’s conversion. In a further investigation we note that there is also great variation among indicators within each part of the novel. We also show that machine learning can be used to differentiate small segments from each part of the novel, with higher accuracy than a random classifier. Finally, we undert

Sara Stymne, Department of Linguistics and Philology, Uppsala University Johan Svedjedal, Department of Literature, Uppsala University Carin Östman, Department of Scandinavian Languages, Uppsala University Linguistic Rhythm in Narrative Prose: the case of Karin Boye’s Kallocain (Språklig rytm i skönlitterär prosa. En fallstudie i Karin Boyes Kallocain) The concept of rhythm in prose is ambiguous, and there is no consensus on how to define it. In this work, we focus on linguistic rhythm, at word, sentence and paragraph levels. We adopt and slightly extend rhythm indicators used in previous research, and show that these can be calculated fully automatically, on a much larger scale than previously done. We adopt the Swedish poet and novelist Karin Boye’s (1900–41) novel Kallocain (1940), as a case study. It is an icily dystopian depiction of a totalitarian future, where the protagonist Leo Kall first embraces this system, but for various reasons later rebels against it. The peripety comes when he gives a public speech, questioning the State. It has been pointed out that the novel from precisely this point on is characterized by a much freer rhythm, and that Boye as an author had considerable interest in questions of linguistic rhythm. This paper sets out to test this hypothesis by applying sixteen indicators of linguistic rhythm in narrative prose (such as word length, sentence length, ratio of punctuation, etc.). We first note that we can expect differences between narrative and dialogue and limit most of our study to the first-person narrative. We find that there are significant differences mainly between phrase and word lengths in the parts before and after Leo Kall’s conversion. In a further investigation we note that there is also great variation among indicators within each part of the novel. We also show that machine learning can be used to differentiate small segments from each part of the novel, with higher accuracy than a random classifier. Finally, we undert

Sara Stymne, Department of Linguistics and Philology, Uppsala University Johan Svedjedal, Department of Literature, Uppsala University Carin Östman, Department of Scandinavian Languages, Uppsala University Linguistic Rhythm in Narrative Prose: the case of Karin Boye’s Kallocain (Språklig rytm i skönlitterär prosa. En fallstudie i Karin Boyes Kallocain) The concept of rhythm in prose is ambiguous, and there is no consensus on how to define it. In this work, we focus on linguistic rhythm, at word, sentence and paragraph levels. We adopt and slightly extend rhythm indicators used in previous research, and show that these can be calculated fully automatically, on a much larger scale than previously done. We adopt the Swedish poet and novelist Karin Boye’s (1900–41) novel Kallocain (1940), as a case study. It is an icily dystopian depiction of a totalitarian future, where the protagonist Leo Kall first embraces this system, but for various reasons later rebels against it. The peripety comes when he gives a public speech, questioning the State. It has been pointed out that the novel from precisely this point on is characterized by a much freer rhythm, and that Boye as an author had considerable interest in questions of linguistic rhythm. This paper sets out to test this hypothesis by applying sixteen indicators of linguistic rhythm in narrative prose (such as word length, sentence length, ratio of punctuation, etc.). We first note that we can expect differences between narrative and dialogue and limit most of our study to the first-person narrative. We find that there are significant differences mainly between phrase and word lengths in the parts before and after Leo Kall’s conversion. In a further investigation we note that there is also great variation among indicators within each part of the novel. We also show that machine learning can be used to differentiate small segments from each part of the novel, with higher accuracy than a random classifier. Finally, we undert

Sara Stymne, Department of Linguistics and Philology, Uppsala University Johan Svedjedal, Department of Literature, Uppsala University Carin Östman, Department of Scandinavian Languages, Uppsala University Linguistic Rhythm in Narrative Prose: the case of Karin Boye’s Kallocain (Språklig rytm i skönlitterär prosa. En fallstudie i Karin Boyes Kallocain) The concept of rhythm in prose is ambiguous, and there is no consensus on how to define it. In this work, we focus on linguistic rhythm, at word, sentence and paragraph levels. We adopt and slightly extend rhythm indicators used in previous research, and show that these can be calculated fully automatically, on a much larger scale than previously done. We adopt the Swedish poet and novelist Karin Boye’s (1900–41) novel Kallocain (1940), as a case study. It is an icily dystopian depiction of a totalitarian future, where the protagonist Leo Kall first embraces this system, but for various reasons later rebels against it. The peripety comes when he gives a public speech, questioning the State. It has been pointed out that the novel from precisely this point on is characterized by a much freer rhythm, and that Boye as an author had considerable interest in questions of linguistic rhythm. This paper sets out to test this hypothesis by applying sixteen indicators of linguistic rhythm in narrative prose (such as word length, sentence length, ratio of punctuation, etc.). We first note that we can expect differences between narrative and dialogue and limit most of our study to the first-person narrative. We find that there are significant differences mainly between phrase and word lengths in the parts before and after Leo Kall’s conversion. In a further investigation we note that there is also great variation among indicators within each part of the novel. We also show that machine learning can be used to differentiate small segments from each part of the novel, with higher accuracy than a random classifier. Finally, we undert

Sara Stymne, Department of Linguistics and Philology, Uppsala University Johan Svedjedal, Department of Literature, Uppsala University Carin Östman, Department of Scandinavian Languages, Uppsala University Linguistic Rhythm in Narrative Prose: the case of Karin Boye’s Kallocain (Språklig rytm i skönlitterär prosa. En fallstudie i Karin Boyes Kallocain) The concept of rhythm in prose is ambiguous, and there is no consensus on how to define it. In this work, we focus on linguistic rhythm, at word, sentence and paragraph levels. We adopt and slightly extend rhythm indicators used in previous research, and show that these can be calculated fully automatically, on a much larger scale than previously done. We adopt the Swedish poet and novelist Karin Boye’s (1900–41) novel Kallocain (1940), as a case study. It is an icily dystopian depiction of a totalitarian future, where the protagonist Leo Kall first embraces this system, but for various reasons later rebels against it. The peripety comes when he gives a public speech, questioning the State. It has been pointed out that the novel from precisely this point on is characterized by a much freer rhythm, and that Boye as an author had considerable interest in questions of linguistic rhythm. This paper sets out to test this hypothesis by applying sixteen indicators of linguistic rhythm in narrative prose (such as word length, sentence length, ratio of punctuation, etc.). We first note that we can expect differences between narrative and dialogue and limit most of our study to the first-person narrative. We find that there are significant differences mainly between phrase and word lengths in the parts before and after Leo Kall’s conversion. In a further investigation we note that there is also great variation among indicators within each part of the novel. We also show that machine learning can be used to differentiate small segments from each part of the novel, with higher accuracy than a random classifier. Finally, we undert

The purpose of this paper is to study Uno von Troil's book Bref rörande en resa til Island MDCCLXXII as part of the transfer of knowledge about Iceland to Sweden and Europe during the late 1700s. On the basis of discussions on travel books and the image of 'the other', 'I will argue that von Troil, using the skills he already had access to, as well as the skills he acquired after his trip, provides a multifaceted picture of Iceland. At the same time, I will examine how von Troil conveys information about Iceland both to a Swedish and a European audience and illustrate his network relationships and career aspirations.

This paper suggests some ways in which the concerns of exis- tential psychotherapy may be combined with the practice of poetry therapy. It emphasizes the capacity of literature for inducing perspective-taking, i.e. the reader’s opportunity of experiencing the ongoing here and now of a fictional character, including the speaker of a poem. It goes on to show this pro- cess in action in four poems exemplifying, respectively, four different attitudes to the existential question of meaning and purpose in life: transcendental-optimistic (Erik Gustaf Geijer’s »Natthimmelen« / »The Night Sky«); transcendental-pessimistic (A.E. Housman’s »The Laws of God«); immanent-optimistic (Henry Wadsworth Longfellow’s »A Hymn to the Night«); and immanent-pessimistic (Tennyson’s »Oh Yet We Trust«). What- ever the stance of the poems, the reader grappling with exis- tential questions may take the perspective of the speakers of the poems, thereby finding solace in a shared experience of the human condition.

The purpose of this paper is to study Uno von Troil's book Bref rörande en resa til Island MDCCLXXII as part of the transfer of knowledge about Iceland to Sweden and Europe during the late 1700s. On the basis of discussions on travel books and the image of 'the other', 'I will argue that von Troil, using the skills he already had access to, as well as the skills he acquired after his trip, provides a multifaceted picture of Iceland. At the same time, I will examine how von Troil conveys information about Iceland both to a Swedish and a European audience and illustrate his network relationships and career aspirations.