| 1. |
- Bergenmar, Jenny, 1973
(författare)
-
Selma Lagerlöf, Narrative and Counter-Narrative. The Question of Sources in the Historical Understanding of an Author's Works
- 2013
-
Ingår i: Ideas in History. - 1890-1832. ; 7:1-2, s. 71-94
-
Tidskriftsartikel (refereegranskat)abstract
- When writing the history of an author’s oeuvre, canonical and public sources are given precedence. The professional readers’ (critics’) statements about what is considered the major work of the author are central in this historiography, while letters to the author from the audience, reports in newspapers or magazines about the author’s public appearances or autobiographical accounts of the author are usually left out. In this article the case of Selma Lagerlöf is explored through more peripheral sources: letters, (auto)biographical accounts, reports from different events in women’s magazines and some “minor” texts in her oeuvre. What links between public and private events and texts appear when these neglected sources are placed in the centre of the analysis, and how does this change the narrative of the author’s reception and significance? I will focus on the question of women’s rights and conditions in society, revealing themselves to be important both in Lagerlöf’s “minor” texts and in the reception of her works, and discuss how Fredrika Bremer’s legacy is visible in Lagerlöf’s life and writing – specifically through the question of women’s citizenship and education as well as women’s role as educators. Only by putting the different sources side by side do the links between history, autobiography and fiction appear, making cultural memories visible and, at the same time, re-evaluating canonical truths.
|
|
| 2. |
|
|
| 3. |
|
|
| 4. |
|
|
| 5. |
- Fareld, Victoria, 1973
(författare)
-
Contexts in Flux: Textual Concerns for the Historian of Ideas
- 2007
-
Ingår i: Ideas in History: The Nordic Society for the History of Ideas. - 1890-1832. ; 3
-
Tidskriftsartikel (refereegranskat)abstract
- This article deals with the methodological question of contextualization in the field of history of ideas. By discussing the notion of beginning, and by arguing for an understanding of beginning as a construction made in retrospect – as that which only in the end of a process appears as the beginning – the author questions the conventional view on historical contextualization as primarily a method of arranging a chronological narrative. It is suggested that the notion of backward reading could account for a broader practice of contextualization, as it opens up a range of possible contextual arrangements in the writing of history of ideas. By stressing the two meanings of the word history (the past, that which is forever gone, and the incessantly changing narrative representations of the past, that which in a certain sense always remains to come), as inseparably intertwined in a dialectics of presence and absence, recalling and forgetting, it is argued for the importance of adopting a double perspective: There is no present independent of the past. But there is no past independent of the present. The historian of ideas, therefore, the author claims, has a role to play just as urgent when it comes to reflect upon the past from today’s horizon, as to analyze the present through an examination of the past. The novel Vivre me tue (Life kills me) written by the French author Paul Smaïl, serves to illustrate the difficulty in deciding the contextual beginning and ending of a text, and the need, therefore, of exploring a methodological concept of temporality where past, present and future are constitutively interrelated – where the beginning can appear in the end, just as the end can appear as a new beginning.
|
|
| 6. |
|
|
| 7. |
- Goysdotter, Moa
(författare)
-
Thought-Images: The Quest for Visualisation of the Mental around 1900
- 2012
-
Ingår i: Ideas in History. The journal of the Nordic Society of the History of Ideas. - 1890-1832. ; 5, s. 11-26
-
Tidskriftsartikel (populärvet., debatt m.m.)abstract
- This article examines the ever-actual desire to visualise and materialise thought-images in a historical perspective. The interest for research into thought imagery,and of visual proof production of thoughts, coincided with the invention of the camera and culminated somewhere around 1900. Together with other scientific circumstances that appeared up to 1900, such as the experimental psychology model of the mind as an archive and the discovery of rays as an immaterial but yet scientifically proven fact, the camera became the self-evident centre to construct theories around in attempts to scientifically legitimise research into the realm of mental imagery. As a highly recognised scientific tool, a proven detector and visualiser of rays, and a generally recognised explanatory model of the mechanism of the mind, photography became the centre in the axis mind-photography-rays, along which researchers experimented in the quest for materialisation of the mental around 1900.
|
|
| 8. |
|
|
| 9. |
|
|
| 10. |
- Hermansson, Gunilla, 1974
(författare)
-
Imagined Wars and Cultural Borders: A Case of Nordic Modernism
- 2015
-
Ingår i: Ideas in History. - 1890-1832. ; 8:2, s. 5-24
-
Tidskriftsartikel (refereegranskat)abstract
- The article deals with negotiations of borders and identities that occupied avant-garde and modernist literature in the aftermath of World War I. Developing the close ties between war, national borders and avant-garde aesthetics, the discussion focusses on the case of two Danish novels which simultaneously tested different avant-garde gestures and discourses and the experience of war and revolution by forcing European armies onto neutral Danish soil: Spartanerne (1919) by Emil Bønnelycke and Livets Arabesk (1921) by Tom Kristensen. The novels not only exhibit an apparent desire to connect to the European avant-garde but also a need to examine and curb the violent energies pertaining to it. The novels may be viewed as exemplary of how different ideas of cultural borders regarding nationality, gender, ideology, and artistic groupings were examined and processed imaginatively at this specific moment in European history.
|
|
