A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Later.

Later.

This methodological seminar focuses on the recent and rapidly expanding field of the history of emotion while seeking to apply emotion theory to literature. It traces the development of the ‘history of emotion’ across the multiple different fields, including psychology, neurology and history, followed by an in-depth critical work on emotion theory and its applicability to literature. It tackles questions such as what are literary emotions? Where are they located? How can they be defined and what is the relationship between historical and literary emotionality?

The seminar will expand widely across the theoretical background of emotion studies, presenting and discussing its major terminologies and theories. We will then shift to close reading of selected texts for the sake of reinforcing the methodological approach as a skill set to deepen the students’ understanding of the critical parameters and their application. Ultimately, we will seek to encourage and foster the independent critical work of the students on their own chosen texts, utilising the skill sets that they have acquired throughout the seminar to expand on texts of their own choice.

The seminar will run in the first half of term. The final set of classes will be held at the end of term where students will present their research projects (for those taking the associated 5 credit research project) or a potential research project or paper (for those interesting in attending solely the seminar). Readings will include both theoretical texts and literary works. The seminar will take place in English.

This research project is directly associated with the methodological seminar on emotions. The associated seminar will run in the first half of term, followed by a research break in the second half of term where students will work on their own projects utilising the methodological approach or the theory of emotions in history or literature to analyse a work or several works of their own choice. This gives students the opportunity to do in-depth work on a text or set of texts that they may be interested in for their thesis, for instance.
It is not a requirement to attend the seminar for participation in the research project and so students familiar with (or interested in) emotion studies may take the research project independently.
Evaluation criteria is based on a single research paper due at the end of term. The topic selection is due after mid-term. Papers can be written in either English or Icelandic.

In the course of the seminar the concept of tragdey will be discussed in depth and attention brought to how the different understanding and definition of that concept can be traced in the history of Western Theatre and society. In that part of the seminar George Steiner’s theory about how tragedy as an art form was bound to give in for the overtaking of modernism. During the latter part of the seminar some recent revivals and adaptations of ancient tragedies will be discussed, and the question raised whether tragedy as a fom for artistic expression is in fact so vivid that it might be stated that it is possible to argue for an era of the rebirth of tragedy in post-modernist, post-damatic times.

Form of teaching: Lectures and discussion

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Franz Kafka is among the best-known modern writers of the Western world. His oeuvre is often thought to be cryptic and hard to interpret, and yet many seem to think that it home to a very distinct meaning which can be summarized with the attribute “Kafkaesque”. Some claim that he stages mankind in dark times; others find humour and comic elements to be prominent in his texts. The course will tackle these paradoxes by exploring Kafka´s narrative world from various angles and in all its variety. Narrative kernels will be pursued in his aphorisms and they will also be traced in his diaries and letters, his microfiction, short stories, novellas, and novels. Kafka’s writing invites diverse explorations of the connections and differences between these different genres of expression.

These works will be contemplated vis-à-vis 20th Century narrative conventions and modernist ruptures, with an emphasis on questions about existential issues, freedom, power, and modern societal manifestations. The challenges of transporting the characteristics of Kafka´s writing between languages will also be of concern, for most readers of Kafka get to know his work in translation. This course is aimed at both graduate and advanced undergraduate students. Students could possibly work on aspects of translation, on creative writing projects, or on comparative projects also pertaining to the works of other writers.

Stéphanie Genz and Benjamin A. Brabon have described postfeminism as a “concept fraught with contradictions. Loathed by some and celebrated by others“. In this course postfeminism will be analyzed as a response to second wave feminism, as a part of postmodernist consumer culture which is influenced by neo-liberal market theories, and in terms of its expressive sexuality. The students will read central theoretical texts on postfeminism and consumer culture, and works by some of the best known chick lit writers, such as Helen Fielding, Candace Bushnell, and Sophie Kinsella, as well as Icelandic counterparts. Chick culture will be analyzed in general through television series such as Desperate Housewives (2004–2012) and Sex and the City (1998–2004), through films, talk shows for women, the music industry, glamour magazines and self-help books. We will also ask whether some central narrative structures, motifs and characters, can be traced back to classic writers such as Jane Austen, the Brontë sisters and Edith Wharton. Students will be encouraged to approach postfeminism in a critical manner without engaging in the derogatory language which so often characterizes the debate.

In the course, various forms of fantasy will be discussed, along with their characteristics and roles, drawing on the perspectives of theorists such as J. R. R. Tolkien, Tzvetan Todorov, Rosemary Jackson, and Mariu Nikolajeva. Additionally, the discussion will encompass different types of imagined worlds and the interplay between reality and fiction in relation to concepts such as the imagination, possible world theory, and unnatural narratives. Furthermore, attention will be given to the hybrid nature of fantasy. Works examined and analyzed in the course include Alice in Wonderland (Lewis Carroll), Peter Pan (James Matthew Barrie), selected Moomin books (Tove Jansson), Harry Potter and the Philosopher's Stone (J. K. Rowling), The Golden Compass (Phillip Pullman) and selected Goosebumps books (R. L. Stine and Helgi Jónsson).

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Later.

Later.

This methodological seminar focuses on the recent and rapidly expanding field of the history of emotion while seeking to apply emotion theory to literature. It traces the development of the ‘history of emotion’ across the multiple different fields, including psychology, neurology and history, followed by an in-depth critical work on emotion theory and its applicability to literature. It tackles questions such as what are literary emotions? Where are they located? How can they be defined and what is the relationship between historical and literary emotionality?

The seminar will expand widely across the theoretical background of emotion studies, presenting and discussing its major terminologies and theories. We will then shift to close reading of selected texts for the sake of reinforcing the methodological approach as a skill set to deepen the students’ understanding of the critical parameters and their application. Ultimately, we will seek to encourage and foster the independent critical work of the students on their own chosen texts, utilising the skill sets that they have acquired throughout the seminar to expand on texts of their own choice.

The seminar will run in the first half of term. The final set of classes will be held at the end of term where students will present their research projects (for those taking the associated 5 credit research project) or a potential research project or paper (for those interesting in attending solely the seminar). Readings will include both theoretical texts and literary works. The seminar will take place in English.

This research project is directly associated with the methodological seminar on emotions. The associated seminar will run in the first half of term, followed by a research break in the second half of term where students will work on their own projects utilising the methodological approach or the theory of emotions in history or literature to analyse a work or several works of their own choice. This gives students the opportunity to do in-depth work on a text or set of texts that they may be interested in for their thesis, for instance.
It is not a requirement to attend the seminar for participation in the research project and so students familiar with (or interested in) emotion studies may take the research project independently.
Evaluation criteria is based on a single research paper due at the end of term. The topic selection is due after mid-term. Papers can be written in either English or Icelandic.

In the course of the seminar the concept of tragdey will be discussed in depth and attention brought to how the different understanding and definition of that concept can be traced in the history of Western Theatre and society. In that part of the seminar George Steiner’s theory about how tragedy as an art form was bound to give in for the overtaking of modernism. During the latter part of the seminar some recent revivals and adaptations of ancient tragedies will be discussed, and the question raised whether tragedy as a fom for artistic expression is in fact so vivid that it might be stated that it is possible to argue for an era of the rebirth of tragedy in post-modernist, post-damatic times.

Form of teaching: Lectures and discussion

MA-thesis in Comparative Literature

Later

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Franz Kafka is among the best-known modern writers of the Western world. His oeuvre is often thought to be cryptic and hard to interpret, and yet many seem to think that it home to a very distinct meaning which can be summarized with the attribute “Kafkaesque”. Some claim that he stages mankind in dark times; others find humour and comic elements to be prominent in his texts. The course will tackle these paradoxes by exploring Kafka´s narrative world from various angles and in all its variety. Narrative kernels will be pursued in his aphorisms and they will also be traced in his diaries and letters, his microfiction, short stories, novellas, and novels. Kafka’s writing invites diverse explorations of the connections and differences between these different genres of expression.

These works will be contemplated vis-à-vis 20th Century narrative conventions and modernist ruptures, with an emphasis on questions about existential issues, freedom, power, and modern societal manifestations. The challenges of transporting the characteristics of Kafka´s writing between languages will also be of concern, for most readers of Kafka get to know his work in translation. This course is aimed at both graduate and advanced undergraduate students. Students could possibly work on aspects of translation, on creative writing projects, or on comparative projects also pertaining to the works of other writers.

Stéphanie Genz and Benjamin A. Brabon have described postfeminism as a “concept fraught with contradictions. Loathed by some and celebrated by others“. In this course postfeminism will be analyzed as a response to second wave feminism, as a part of postmodernist consumer culture which is influenced by neo-liberal market theories, and in terms of its expressive sexuality. The students will read central theoretical texts on postfeminism and consumer culture, and works by some of the best known chick lit writers, such as Helen Fielding, Candace Bushnell, and Sophie Kinsella, as well as Icelandic counterparts. Chick culture will be analyzed in general through television series such as Desperate Housewives (2004–2012) and Sex and the City (1998–2004), through films, talk shows for women, the music industry, glamour magazines and self-help books. We will also ask whether some central narrative structures, motifs and characters, can be traced back to classic writers such as Jane Austen, the Brontë sisters and Edith Wharton. Students will be encouraged to approach postfeminism in a critical manner without engaging in the derogatory language which so often characterizes the debate.

In the course, various forms of fantasy will be discussed, along with their characteristics and roles, drawing on the perspectives of theorists such as J. R. R. Tolkien, Tzvetan Todorov, Rosemary Jackson, and Mariu Nikolajeva. Additionally, the discussion will encompass different types of imagined worlds and the interplay between reality and fiction in relation to concepts such as the imagination, possible world theory, and unnatural narratives. Furthermore, attention will be given to the hybrid nature of fantasy. Works examined and analyzed in the course include Alice in Wonderland (Lewis Carroll), Peter Pan (James Matthew Barrie), selected Moomin books (Tove Jansson), Harry Potter and the Philosopher's Stone (J. K. Rowling), The Golden Compass (Phillip Pullman) and selected Goosebumps books (R. L. Stine and Helgi Jónsson).

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

MA-thesis in Comparative Literature

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Later.

Later.

This methodological seminar focuses on the recent and rapidly expanding field of the history of emotion while seeking to apply emotion theory to literature. It traces the development of the ‘history of emotion’ across the multiple different fields, including psychology, neurology and history, followed by an in-depth critical work on emotion theory and its applicability to literature. It tackles questions such as what are literary emotions? Where are they located? How can they be defined and what is the relationship between historical and literary emotionality?

The seminar will expand widely across the theoretical background of emotion studies, presenting and discussing its major terminologies and theories. We will then shift to close reading of selected texts for the sake of reinforcing the methodological approach as a skill set to deepen the students’ understanding of the critical parameters and their application. Ultimately, we will seek to encourage and foster the independent critical work of the students on their own chosen texts, utilising the skill sets that they have acquired throughout the seminar to expand on texts of their own choice.

The seminar will run in the first half of term. The final set of classes will be held at the end of term where students will present their research projects (for those taking the associated 5 credit research project) or a potential research project or paper (for those interesting in attending solely the seminar). Readings will include both theoretical texts and literary works. The seminar will take place in English.

This research project is directly associated with the methodological seminar on emotions. The associated seminar will run in the first half of term, followed by a research break in the second half of term where students will work on their own projects utilising the methodological approach or the theory of emotions in history or literature to analyse a work or several works of their own choice. This gives students the opportunity to do in-depth work on a text or set of texts that they may be interested in for their thesis, for instance.
It is not a requirement to attend the seminar for participation in the research project and so students familiar with (or interested in) emotion studies may take the research project independently.
Evaluation criteria is based on a single research paper due at the end of term. The topic selection is due after mid-term. Papers can be written in either English or Icelandic.

In the course of the seminar the concept of tragdey will be discussed in depth and attention brought to how the different understanding and definition of that concept can be traced in the history of Western Theatre and society. In that part of the seminar George Steiner’s theory about how tragedy as an art form was bound to give in for the overtaking of modernism. During the latter part of the seminar some recent revivals and adaptations of ancient tragedies will be discussed, and the question raised whether tragedy as a fom for artistic expression is in fact so vivid that it might be stated that it is possible to argue for an era of the rebirth of tragedy in post-modernist, post-damatic times.

Form of teaching: Lectures and discussion

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Franz Kafka is among the best-known modern writers of the Western world. His oeuvre is often thought to be cryptic and hard to interpret, and yet many seem to think that it home to a very distinct meaning which can be summarized with the attribute “Kafkaesque”. Some claim that he stages mankind in dark times; others find humour and comic elements to be prominent in his texts. The course will tackle these paradoxes by exploring Kafka´s narrative world from various angles and in all its variety. Narrative kernels will be pursued in his aphorisms and they will also be traced in his diaries and letters, his microfiction, short stories, novellas, and novels. Kafka’s writing invites diverse explorations of the connections and differences between these different genres of expression.

These works will be contemplated vis-à-vis 20th Century narrative conventions and modernist ruptures, with an emphasis on questions about existential issues, freedom, power, and modern societal manifestations. The challenges of transporting the characteristics of Kafka´s writing between languages will also be of concern, for most readers of Kafka get to know his work in translation. This course is aimed at both graduate and advanced undergraduate students. Students could possibly work on aspects of translation, on creative writing projects, or on comparative projects also pertaining to the works of other writers.

Stéphanie Genz and Benjamin A. Brabon have described postfeminism as a “concept fraught with contradictions. Loathed by some and celebrated by others“. In this course postfeminism will be analyzed as a response to second wave feminism, as a part of postmodernist consumer culture which is influenced by neo-liberal market theories, and in terms of its expressive sexuality. The students will read central theoretical texts on postfeminism and consumer culture, and works by some of the best known chick lit writers, such as Helen Fielding, Candace Bushnell, and Sophie Kinsella, as well as Icelandic counterparts. Chick culture will be analyzed in general through television series such as Desperate Housewives (2004–2012) and Sex and the City (1998–2004), through films, talk shows for women, the music industry, glamour magazines and self-help books. We will also ask whether some central narrative structures, motifs and characters, can be traced back to classic writers such as Jane Austen, the Brontë sisters and Edith Wharton. Students will be encouraged to approach postfeminism in a critical manner without engaging in the derogatory language which so often characterizes the debate.

In the course, various forms of fantasy will be discussed, along with their characteristics and roles, drawing on the perspectives of theorists such as J. R. R. Tolkien, Tzvetan Todorov, Rosemary Jackson, and Mariu Nikolajeva. Additionally, the discussion will encompass different types of imagined worlds and the interplay between reality and fiction in relation to concepts such as the imagination, possible world theory, and unnatural narratives. Furthermore, attention will be given to the hybrid nature of fantasy. Works examined and analyzed in the course include Alice in Wonderland (Lewis Carroll), Peter Pan (James Matthew Barrie), selected Moomin books (Tove Jansson), Harry Potter and the Philosopher's Stone (J. K. Rowling), The Golden Compass (Phillip Pullman) and selected Goosebumps books (R. L. Stine and Helgi Jónsson).

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Later.

Later.

This methodological seminar focuses on the recent and rapidly expanding field of the history of emotion while seeking to apply emotion theory to literature. It traces the development of the ‘history of emotion’ across the multiple different fields, including psychology, neurology and history, followed by an in-depth critical work on emotion theory and its applicability to literature. It tackles questions such as what are literary emotions? Where are they located? How can they be defined and what is the relationship between historical and literary emotionality?

The seminar will expand widely across the theoretical background of emotion studies, presenting and discussing its major terminologies and theories. We will then shift to close reading of selected texts for the sake of reinforcing the methodological approach as a skill set to deepen the students’ understanding of the critical parameters and their application. Ultimately, we will seek to encourage and foster the independent critical work of the students on their own chosen texts, utilising the skill sets that they have acquired throughout the seminar to expand on texts of their own choice.

The seminar will run in the first half of term. The final set of classes will be held at the end of term where students will present their research projects (for those taking the associated 5 credit research project) or a potential research project or paper (for those interesting in attending solely the seminar). Readings will include both theoretical texts and literary works. The seminar will take place in English.

This research project is directly associated with the methodological seminar on emotions. The associated seminar will run in the first half of term, followed by a research break in the second half of term where students will work on their own projects utilising the methodological approach or the theory of emotions in history or literature to analyse a work or several works of their own choice. This gives students the opportunity to do in-depth work on a text or set of texts that they may be interested in for their thesis, for instance.
It is not a requirement to attend the seminar for participation in the research project and so students familiar with (or interested in) emotion studies may take the research project independently.
Evaluation criteria is based on a single research paper due at the end of term. The topic selection is due after mid-term. Papers can be written in either English or Icelandic.

In the course of the seminar the concept of tragdey will be discussed in depth and attention brought to how the different understanding and definition of that concept can be traced in the history of Western Theatre and society. In that part of the seminar George Steiner’s theory about how tragedy as an art form was bound to give in for the overtaking of modernism. During the latter part of the seminar some recent revivals and adaptations of ancient tragedies will be discussed, and the question raised whether tragedy as a fom for artistic expression is in fact so vivid that it might be stated that it is possible to argue for an era of the rebirth of tragedy in post-modernist, post-damatic times.

Form of teaching: Lectures and discussion

MA-thesis in Comparative Literature

Later

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

A project is selected in consultation with a teacher, and that teacher must approve the student's research plans before she or he is permitted to register for a study of this kind.

Franz Kafka is among the best-known modern writers of the Western world. His oeuvre is often thought to be cryptic and hard to interpret, and yet many seem to think that it home to a very distinct meaning which can be summarized with the attribute “Kafkaesque”. Some claim that he stages mankind in dark times; others find humour and comic elements to be prominent in his texts. The course will tackle these paradoxes by exploring Kafka´s narrative world from various angles and in all its variety. Narrative kernels will be pursued in his aphorisms and they will also be traced in his diaries and letters, his microfiction, short stories, novellas, and novels. Kafka’s writing invites diverse explorations of the connections and differences between these different genres of expression.

These works will be contemplated vis-à-vis 20th Century narrative conventions and modernist ruptures, with an emphasis on questions about existential issues, freedom, power, and modern societal manifestations. The challenges of transporting the characteristics of Kafka´s writing between languages will also be of concern, for most readers of Kafka get to know his work in translation. This course is aimed at both graduate and advanced undergraduate students. Students could possibly work on aspects of translation, on creative writing projects, or on comparative projects also pertaining to the works of other writers.

Stéphanie Genz and Benjamin A. Brabon have described postfeminism as a “concept fraught with contradictions. Loathed by some and celebrated by others“. In this course postfeminism will be analyzed as a response to second wave feminism, as a part of postmodernist consumer culture which is influenced by neo-liberal market theories, and in terms of its expressive sexuality. The students will read central theoretical texts on postfeminism and consumer culture, and works by some of the best known chick lit writers, such as Helen Fielding, Candace Bushnell, and Sophie Kinsella, as well as Icelandic counterparts. Chick culture will be analyzed in general through television series such as Desperate Housewives (2004–2012) and Sex and the City (1998–2004), through films, talk shows for women, the music industry, glamour magazines and self-help books. We will also ask whether some central narrative structures, motifs and characters, can be traced back to classic writers such as Jane Austen, the Brontë sisters and Edith Wharton. Students will be encouraged to approach postfeminism in a critical manner without engaging in the derogatory language which so often characterizes the debate.

In the course, various forms of fantasy will be discussed, along with their characteristics and roles, drawing on the perspectives of theorists such as J. R. R. Tolkien, Tzvetan Todorov, Rosemary Jackson, and Mariu Nikolajeva. Additionally, the discussion will encompass different types of imagined worlds and the interplay between reality and fiction in relation to concepts such as the imagination, possible world theory, and unnatural narratives. Furthermore, attention will be given to the hybrid nature of fantasy. Works examined and analyzed in the course include Alice in Wonderland (Lewis Carroll), Peter Pan (James Matthew Barrie), selected Moomin books (Tove Jansson), Harry Potter and the Philosopher's Stone (J. K. Rowling), The Golden Compass (Phillip Pullman) and selected Goosebumps books (R. L. Stine and Helgi Jónsson).

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

Angry men are prominent in literature and art from the beginning of Western cultural traditions. Their existence is part of the essence of narrative art. In the course we will examine a variety of examples of angry men from the point of view of the theory of emotion, all the from the anger of Achilles to Donald Duck. Who is allowed to get angry? Why are they angry and what purpose does their anger serve from a cultural historical perspective. We will read a sample of works and theoretical texts on angry men and anger as a phenomenon.

MA-thesis in Comparative Literature