| 1. |
- Granqvist, Raoul J.
(författare)
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Agony and Penance : Sara Lidman in South Africa 1960-1961
- 2017
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Ingår i: Current Writing. - : Taylor & Francis. - 1013-929X .- 2159-9130. ; 29:1, s. 2-15
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Tidskriftsartikel (refereegranskat)abstract
- The Swedish writer Sara Lidman (1923-2004) wrote Jag och min son ("I and My Son") after a brief stint in apartheid South Africa in 1960-61, from where she was expelled for violation of the Immorality Act. Based on a close, interrelated study of her diary, her letters and the two book manuscripts (first published in 1961; revised and re-published in 1963), I examine the colonial boundary crisis of the Self. The major protagonists in the novels or autobiographies embody, variously, aspects of the writer's angst as it developed in the Johannesburg colonial setting of persecuted ANC members, the elite of the local Swedish community, the friendship of Nadine Gordimer, and the pressure of her anticolonial frustrations.
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| 2. |
- Granqvist, Raoul J.
(författare)
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Anna Bondestam
- 2016
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Ingår i: Svenskt översättarlexikon [Elektronisk resurs]. - Huddinge : Södertörns högskola.
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Bokkapitel (populärvet., debatt m.m.)
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| 3. |
- Granqvist, Raoul J.
(författare)
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Förord
- 2015
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Ingår i: Elechi Amadi, De stora dammarna. - Stockholm : Modernista. - 9789174995534 ; , s. v-x
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Elechi Amadi’s (b. 1934) novel The Great Ponds is a stylized, only seemingly simple, story about a conflict between two Ikwerre villages (Niger Delta, today Rivers State, Nigeria). The conflict concerns to begin with an internal local wrestling match, a male skirmish, about fishing rights between ‘strong men’ and the leaders’ manipulative handling of the god systems, to escalate into an apocalyptic pandemonium of death with wonjo (1918), the Spanish Flu (La Grippe) as the catalyst. References to wonjo occur only at the very end of The Great Ponds, as if Amadi had resolved to position his story in a de-contextualized exclusive African enclave on the Atlantic coast, outside the history of the white man’s two century-long colonization of Ikwerre land and neighboring Igboland. This may have been his decision, only that a writer’s decision can be jammed by his book, which is the case here. Amadi wrote his story in 1969 while the Nigerian civil war, the Biafran War (1967-1970), was on going; the writer staunchly loyal with the Federal side throughout. The absence in The Great Ponds of ‘white men,’ ‘white religions,’ and the ’white decease’ (as the Spanish Flue has been identified as, only that it was global; 40,000 thousand died in Sweden and even more in Finland), it needs to be pointed out, only has a formal significance. The cruelties that embodied the breaking down of the two villages in the novel were underpinned by a series of ‘events’: one, the wonjo; second, the colonial wars that had been waged in the Niger Delta between the British and the Igbo ever since the first missionaries arrived in the 1850s; third, the Biafran War that positioned, sadly, Amadi– in theory – against Chinua Achebe, his colleague and friend. They were born and bred 150 km from each other; Achebe four years his older; they had been to the same prestigious colonial school, Government College, Umuahio; and were alumni at University College, Ibadan. An Ikwerre against an Igbo. No!Achebe’s Things Fall Apart (1958) engages the ‘white men’ and their religion; Achebe wrote a history about the colonial encounter. Amadi erased the Europeans. Amadi wrote an ethnographic allegory from within local belief systems. But more importantly, the two share the vision of what constitutes the foundation for not ‘falling apart,’ whether it is a group or an individual and a village like Chiolu (Amadi) or Umuofia (Achebe): the ability to talk, to negotiate, to compromise, and when rule systems violate the dynamism of change (impacted by neighbors, foreigners, or women), disobey the ‘rules,’ replace them! No god can breathe for long within the pages of a single volume! The once commensurate patriarchal system in The Great Ponds, based on concord and solidarity, disintegrated into religious fundamentalism, brutal violence, greed, and mercilessness, with the gods and their adjuncts in recalcitrant partnership. It was not wonjo’s fault!
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| 4. |
- Granqvist, Raoul J., 1940-
(författare)
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Förord
- 2015
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Ingår i: Hemligheter. - Stockholm : Modernista. - 9789176455845 ; , s. v-x
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Nuruddin Farah's Secret, the third in a suite of three novels called 'Blood in the Sun', was written in Berlin in 1990. It was originally dubbed 'Awake, When Asleep', an evangelical plea for social and political redemption whose idealism Farah did not walk out on but camouflaged under an uncompromising exploration. Somalia had become a nightmare and has stayed a life-long trauma for Farah himself. With the Wall collapsing outside the windows at Potsdamer Platz and the jubilant demonstrators' catch phrase "We are the people" metamorphosing into "We are ONE people", the novel’s title and language changed. Farah's documentation of the collective horror of Somalia in decay, the converse of German unity (as it seemed), could only be searched through a radical literary diagnosis that shattered 'normalcies' that bound together family-clan, man-woman, right-wrong, sanity-insanity, God-gods-fathoms. Farah deconstructs, unveils, ruthlessly the mechanisms of patrilineal genetics, patronymics, rape, blood binds, foster children, down to their minutest, most mazelike particulars; even the interlinguas of animals. All is made transcendent. This is what the 'secrets' connote. Cultural taboos and religious codes of loyalty, normalcies, kill.In monologues, all the five narrators, Kaaman, Sholoongo, Yaqut, Damac and Nonno, tell stories about themselves, about each other. They do it through fables, innuendos, whispers, wrong-sayings, rumors, lies, voyeurism. As readers we have to endure Farah's fragmented world, simply for it to make sense for us. To achieve this, his fable tells us, we have to understand that there is no secret if life is here to be lived. That the collective mystery of Somalia is a lie: no one understands why someone shoots another human being; why you eat locusts; that no one knows that God does not exist.Now, a quarter of a century later, dysfunctional Somalia is still there, unchanged, but so also, increasingly, the out of Somalia world, from Damascus in the east to Berlin and Stockholm in the north. Farah's Secrets concerns us all.
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| 5. |
- Granqvist, Raoul J.
(författare)
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John Donnes brev till Henry Wotton 1598 -- "Bättre än kyssar"
- 2016
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Ingår i: Nya Argus. - Helsingfors. - 0027-7126. ; 109:5-6, s. 151-154
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Tidskriftsartikel (refereegranskat)abstract
- Essän beskriver dels bakgrunden till en av de fyra versepistlarna som John Donne skrev till Henry Wotton 1598, dels analyserar dikten i dess egenskap som en rituell rit för att förstärka vänskapen mellan de två männen och vännerna. Dikten är översatt av Erik Carlquist.
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| 6. |
- Granqvist, Raoul J.
(författare)
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Lars Huldén och översättningens språk - och tango
- 2017
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Ingår i: Nya Argus. - Helsingfors. - 0027-7126. ; 110:4, s. 98-103
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Tidskriftsartikel (refereegranskat)abstract
- Den finlandssvenske poeten och lärde professorn, Lars Huldén (1926–2016), förflyttade sig utan bekymmer mellan högt och lågt, det litterära och det vetenskapliga. Det gällde också hans mångsidiga översättningar. Den här essän dokumenterar och analyserar deras kulturella hemvist i tid och plats och deras språkliga egenhet. En ”samhällssamtidighetens” Lappo-operan hade sin svenska debut på Svenska Teatern 1967 och på rikssvenska Dramaten/Södra Teatern ett år senare och Aulis Sallinens Det röda strecket på Stora Teatern i Göteborg. Hans översatte 17 icke-finska klassiker bland dem Gogols Revisorn, Molières Den tanklöse, och med Mats Huldén sex Shakespearepjäser (som King Lear, Othello och Richard III), de övriga 28 var finska (av Jouko Turkka, Maria Jotuni, Jussi Kylätasku, Paavo Haavikko, Liisa-Maija Laaksonen). Hälften av alla dessa hade sina premiärer i Sverige, vilket anger den anmärkningsvärda roll Huldén kommit att spela i grannlandet (både som poet och översättare). Men det är far och sons översättning av Kalevala och Lars’ av finska tangon på 1980-talet som är de mest framgångsrika. Både folkdikten och tangon, liksom dramat, i Huldéns framställning uppträder som en pardans, en avlyssnande parallellism, en laddad kod. Huldén som översättare är inte säker; det gör honom unik.
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| 7. |
- Granqvist, Raoul J.
(författare)
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Love and Diamonds at a Risk : Sara Lidman in Postcolonial Kenya
- 2017
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Ingår i: Research in African Literatures. - : Indiana University Press. - 0034-5210 .- 1527-2044. ; 48:2, s. 185-199
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Tidskriftsartikel (refereegranskat)abstract
- The Swedish writer Sara Lidman (1923–2004) wrote her second African novel, Med fem diamanter [With Five Diamonds], which is the topic of this article, during a prolonged sojourn in Kenya (1962–63) where she first lived in Kisumu, in the Nyanza province, near Lake Victoria, before moving to Njeri in Gikuyuland. She was accompanied by Wambui Njonjo, the country's first school inspector. The Njonjo family was close to the Kenyattas. The title of the essay, "Love and Diamonds at a Risk", alludes to the postcolonial threshold dilemma of Kenyans being both perpetrators and victims of their own fate, freed from the colonial bonds but reintroduced to economic forms of Western dependence. I examine her allegorical chronicling of Kenya (1958–63) and the symbolic killing of Thiongo, a homosexual, by his brother Wachira, the "boy" pining in the servitude of both Gĩkũyũ patriarchy and the greed of Western capitalism. I demonstrate how "stealing"—both as an act of aggression and one of liberation—is manifested in cultural and linguistic artifacts, in the textures of women's kangas, in a Luo legend, and in a Christian mission. As a postcolonial writer Lidman is unique for her time in transliterating and contextualizing (not translating) Gĩkũyũ and Kiswahili words, proverbs, and stories. Finally, I examine how "love" or the idealization of "love", heterosexual and homosexual, deteriorates under the pressure of "thieving". In Lidman's ideal world androgynity is central. Med fem diamanter is a Kenyan novel written in Swedish.
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| 8. |
- Granqvist, Raoul J.
(författare)
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Photography and American Coloniality : Eliot Elisofon in Africa, 1942-1972
- 2017
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Bok (refereegranskat)abstract
- The empirical base of Photography and American Coloniality: Eliot Elisofon in Africa, 1942–1972 is the memory bank of two archives containing replications of the photographs that Eliot Elisofon collected over the course of three decades (1942–1972) of travel in Africa: Eliot Elisofon Photographic Archives, Smithsonian, National Museum of African Art (EEPA), and the Harry Ransom Center, the University of Texas at Austin (HRC). The book is a close reading of a single American photojournalist’s visual contact with Africa formatted within the interface of colonialism and the Cold War. By pairing the inner and outer cores of the book’s rhetorical address—the biographical (Elisofon) mindset of liberal conciliation, on the one hand, and the ideological efforts of imperial structure building, on the other—my aim is to construe a postcolonial minihistoriography that “can provide a critical genealogy to explicate the political shift from European colonialism to US imperialism
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| 9. |
- Granqvist, Raoul J., 1940-
(författare)
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Sara Lidman : i en avlägsenhetens närhet
- 2019
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Ingår i: Horisont (Svenska Österbottens litteraturförening). - Vasa : Svenska Österbottens litteraturförening. - 0439-5530. ; 1:317, s. 23-28
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Tidskriftsartikel (refereegranskat)
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| 10. |
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