| 8831. |
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| 8832. |
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| 8833. |
- Klingberg, Per, 1984-
(författare)
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Ständigt nya fall för Hercule Poirot
- 2014
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Ingår i: Svenska Dagbladet. - Stockholm : Hb Svenska dagbladets AB & Co. - 1101-2412. ; :4 september
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 8834. |
- Klingberg, Per, 1984-
(författare)
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Svenska skräcken har rötter i 1600-talet
- 2017
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Ingår i: Svenska Dagbladet. - Stockholm : Hb Svenska dagbladets AB & Co. - 1101-2412.
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 8835. |
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| 8836. |
- Klingberg, Per, 1984-
(författare)
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Trickster Turned Sadist : The Role of Scottish Folklore in George MacDonald's 'The Carasoyne'
- 2017
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In 1871 George MacDonald published a revision of the “The Fairy Fleet”, a work that he originally published in 1866 in the literary journal The Argosy. Now re-titled “The Carasoyne”, the story of the Scottish boy Colin’s mission to rescue a human girl out of her servitude to the Fairy Queen is given a startlingly bleak continuation – Colin, now an adult, must once again deal with the fairies when they snatch away his son. But this time the fairies are no longer portrayed so much as tricksters as genuinely malevolent creatures, who gleefully threatens to maim the child and does not necessarily feel bound by the obligations of their word, the “final proof of moral declension in fairies”. David Robb has noted that there is a “growing respect for evil” throughout the author’s realist novels of the 1870’s, resulting in more confrontative and less conciliatory narratives than those of the earlier works. A similar process can be traced in the author’s later writing for children, although one could question if the shift in style here has been accounted for in a fully satisfying way. This paper presents a close reading of “The Carasoyne” and highlight the way that MacDonald consciously employs motifs from Scottish folklore and ballads to create more unsettling fairies than the Victorian reader of literary fairy tales was accustomed to. The analysis draws on contemporary scholarship on the fairy figure in the British culture(s), as carried out by Caroline G. Silver, Nicola Bown and Diane Purkiss.
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| 8837. |
- Klingberg, Per, 1984-
(författare)
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Uncanny universalism : Gothic imagery in George MacDonald’s Lilith (1895)
- 2018
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- As scholars studying George MacDonald (1824–1905) have paid an increasing amount of attention to genre questions, a discussion of the author’s relation to Gothic literature has emerged. MacDonald is often held to be an author who does not properly belong to the Gothic tradition: although prone to employ its motifs and themes in his work, this is frequently understood as a means to further a benign worldview, ultimately at odds with the bleakness and despair often understood to be characteristic of the genre (cf. Scott McLaren, 2006, Susan Ang, 2008). This paper seeks to problematize this notion in a discussion of MacDonald’s late text Lilith (1895). MacDonald’s son Greville has suggested that Lilith was partly written as a reproach to “increasingly easy tendencies in universalists”, who, believing in universal Salvation, had ceased to seriously consider the need for repentance. The protagonist mister Vane stumbles into an alternative reality, possibly a purgatory of sorts, and learns just how dearly redemption is bought. This is a remarkably uncanny universalism, expressed in imagery familiar from the fin de siècle Gothic. Bearing in mind Nicholas Royle’s definition of the uncanny as that which “is destined to elude mastery, […] what cannot be pinned down or controlled”, however, this paper examines the possibility that the uncanny motifs do not merely serve to convey or to contain a benign message, but also undermines any assurances given to us by the text, thus creating an ambiguous and deeply unsettling text. A universal uncanniness, as it were.
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| 8838. |
- Klingberg, Per, 1984-
(författare)
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When Cautionary Tales Goes Unheimlich : A Discussion of Lucy Clifford's 'The New Mother' (1882)
- 2016
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Victorian writer Lucy Clifford’s short story “The New Mother” (1882) is as unsettling as it is hard to immediately classify. Is it a typical cautionary tale of the 19th century or a prime example of weird fiction avant la lettre? The children Blue-Eyes and Turkey are tricked by an enigmatic girl into behaving so badly that their loving mother threatens to abandon them, sending a monstrous new mother in her stead, with glass-eyes, claws and a wooden tail. When the children persist in their disobedience they find out that the threat is all too true. Their mother leaves them to their fate - and when night falls, the new mother arrives to the cottage. Terrified, the children flee into the surrounding forest where they live out the rest of their days, abandoned and afraid.Long a largely forgotten story, “The New Mother” has been the subject of a critical reappraisal during the last decades. In their readings of the work, interpreters such as Alison Lurie and Anita Moss highlights what they view as the subversive nature of the work. There is, however, a harmonizing tendency common to these modern readings that makes them problematic: by trying to fully explain or reduce the bizarre elements of the story, these interpretations are not able to account for the fundamental strangeness of the work. Rather, this paper argues, it’s precisely the uncanny quality of Clifford’s tale that allows it to transcend its given historical context and generate new, unsettling meanings for modern readers.
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| 8839. |
- Klingberg, Per, 1984-
(författare)
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Zagajewskis kluvna värld
- 2009
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Ingår i: Axess. - Stockholm : Axel och Margaret Ax:son Johnsons stiftelse för allmännyttiga ändamål. - 1651-0941. ; :9
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 8840. |
- Klingborg, Johan
(författare)
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Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof
- 2023
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 144, s. 32-57
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Tidskriftsartikel (refereegranskat)abstract
- Johan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving.
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