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- Ågerup, Karl, 1972-
(författare)
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L'esthétique didactique de Yasmina Khadra
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Based on three novels by the contemporary Algerian novelist Yasmina Khadra, the study discusses didactic and aesthetic features of the literary text. While essentially set in the Arab world, Khadra’s fiction links to western encyclopaedia and journalistic discourse. In relating to this part of the reader’s experience, the novels produce an impression of proximity to the peripheral real, and a sense of responsibility. It is suggested that this interdiscursivity be viewed not as a deviation from literature but as inherent to literary discourse itself; the text comments and constitutes simultaneously. Emphasising the hybridity of literary means and didactical drive, the study proposes that Khadra’s work be labelled “didafiction”.
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| 2. |
- Ågerup, Karl, 1972-
(författare)
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Yasmina Khadra et le lecteur occidental
- 2011
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Ingår i: Pensar a Literatura no Séc. XXI. - Braga : ALETHEIA – Associação Científica e Cultural. - 9789726972006 ; , s. 365-376
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Konferensbidrag (refereegranskat)abstract
- Taking the example of the Algerian novelist Yasmina Khadra, the present study examines the intercultural discourse created by North African fiction addressing a Western reader.Considering a novel originally published in France in 2006, namely Les sirènes de Bagdad, the study suggests that already the choice of language and genre is an expression of the author’s approaching of the Western reader. Also, the Western reader is written into the story by didactic features and referential play. Examining Yasmina Khadra’s image and the rhetoric of his narrative, the study finds that the author produces intermediate acts of speech aiming to make certain aspects of Arabic culture intelligible to the Western reader. Judging from the reception in Europe and in the USA, the prose in question is generally perceived as a relevant and enlightening commentary to the situation in the Middle-East. However, some German critics seem reluctant towards the authority of the writer and to parts of the referential grounding. The study suggests that the differences of opinion in this respect depend on varying degrees of readiness to accept the designated role of the reader inherent to the enunciative situation.
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| 4. |
- Sandberg, Linn, 1983-, et al.
(författare)
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Bouncing off Ove : Old men's readings of the novel A Man Called Ove as a cultural representation of ageing masculinity
- 2022
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Ingår i: Journal of Aging Studies. - : Elsevier. - 0890-4065 .- 1879-193X. ; 63
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Tidskriftsartikel (refereegranskat)abstract
- In recent years, there has been a rise in portrayals of greying protagonists in popular fiction, often featuring older people in humorous and heart-warming stories. An emerging genre within this literature is the “geezer and grump lit”, a genre where older people are active protagonists, and while often portrayed as grumpy “’usually turn out to have a heart of gold’” (Swinnen, 2019). A notable example of a book in this genre is the internationally bestselling novel A Man Called Ove (2012) by the Swedish author Fredrik Backman. Telling the story of the 59-year-old Ove who sets out to take his own life, the novel can be understood not only as a cultural representation of ageing, but more specifically a cultural representation of ageing masculinity. But how is this popular novel read and responded to by old men themselves? This article builds on a focus group study with Swedish men aged 65–92 who read and discussed A Man Called Ove. The aim of this article is thus to explore how men read the novel and how these readings function as ways of constructing, negotiating and challenging ageing masculinity and the old man as a gendered and aged position. Findings of the study show how discussion of the novel generated a variety of “imaginary positions” through which the participants made sense of what it means to be an old man in contemporary Sweden, including positions such as the active aspiring ageing man, the passive lonely old man, the embodied and vulnerable old man, and the dutiful old man. Future research should explore how other literary genres may provide ways of understanding how old men's gendered and aged subjectivities are constructed.
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| 5. |
- Andersson, Pär-Yngve, 1954-
(författare)
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Att bli Aurell
- 2008
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Ingår i: Nya Argus. - 0027-7126. ; 101:9-10, s. 174-176
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 6. |
- Andersson, Pär-Yngve, 1954-
(författare)
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Överskridandets strategier : lyrisk romankonst och dess uttryck hos Rosendahl, Trotzig och Lillpers
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In this thesis I describe and analyse the concept of ”lyrical novel” in relation to concrete textual examples. Referring to Waismann’s open texture (porösität) and Wittgensteins ”family resemblance” I study texts that resemble each other although their lyrical features may not be identical. The language itself attracts attention in these novels. They often involve static descriptions, structural patterns of meaningful contrasts and symmetries, visionary or epiphanic moments. A conventional plot is often fragmented or attenuated. I argue that a reader of a lyrical novel imagines a lyrical language game, thereby focusing details and nuances in the prose text that might otherwise be neglected. After a short survey of the Romantic roots of the lyrical novel, I give various examples of novels from the period 1850-1950. The purpose is to give a broad description of lyrical techniques. The last three chapters consist of more detailed analyses of some Swedish novels from the latter part of the 20th century. In Sven Rosendahl’s Gud Fader och tattaren the narrative progression of the story is broken in lyrical passages of great strength. Some of them can be regarded as epiphanic moments. Birgitta Trotzig is in Dykungens dotter trying to loose the ties of sequential time, giving an all-embracing view of the characters’ circumstances. A hopeful identification with the suffering of Christ is at the centre of this modernist novel, where borders between inner and outer worlds at times seem to be of less importance. The plots in Birgitta Lillpers’ three novels Blomvattnarna, Iris, Isis och skräddaren and Medan de ännu hade hästar are attenuated. There are allegorical veins, but events are seldom of dramatic intensity. The language is full of feeling, and a reader becomes aware of a kind of ”lyrical lingering”, when the author affords each passage a value of its own.
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| 9. |
- Wistrand, Sten, 1954-
(författare)
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Att slås till insikt : Hjalmar Bergmans roman Clownen Jac
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study deals with Hjalmar Berman´s last novel, Clownen Jac (Engl. transl. Jac the Clown), written, broadcast, and published in 1930. Among critics a tradition has been established according to which the novel is of artistically minor importance but of great value as a kind of biographical and psychological "document" revealing Bergman´s opinions and innermost feelings concerning his art and his life as an artist. My interest in the work is of another kind. I regard the novel as a narrative structure manifesting its meaning through the plot. To assimilate the novel you have to answer questions like what kind of story and whose story you are reading. Its different events, motifs, and symbols must be seen in relation to the narrative as a whole. As my interpretation is carried out in constant discussion with previous scholars, I also hope to throw light upon some interpretative questions of principal interest. I argue that Clownen Jac has the same plot structure as Sophocles´ tragedy King Oedipus, the drama of a man deviating from the norm of the story but eventually being brought back to it by the force of destiny. As a "Künstlerroman" Clownen Jac stresses the conflict between the artist and the bourgeois, but the main conflict is within the protagonist himself - as in contemporary works like Tonio Kröger and Der Steppenwolf. But the heroes of Mann and Hesse can, in the tradition of the "Bildungsroman", shape their own lives in an agreeable way, while Bergmans´s hero has to submit to his destiny, wether he likes it or not. His initial mistake and hubris is that he doesn´t want to see himself as a clown by nature. He acts in blindness with disastrous results. Finally, beaten to insight he bids farewell to his illusions about love and ordinary life and yields to and accepts the conditions of a tormented artist. In doing so he becomes worthy of our respect, according to the norm of the novel.
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