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- Stymne, Sara, 1977-, et al.
(författare)
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Språklig rytm i skönlitterär prosa. En fallstudie i Karin Boyes Kallocain
- 2018
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 139, s. 128-161
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Tidskriftsartikel (refereegranskat)abstract
- Sara Stymne, Department of Linguistics and Philology, Uppsala UniversityJohan Svedjedal, Department of Literature, Uppsala UniversityCarin Östman, Department of Scandinavian Languages, Uppsala UniversityLinguistic Rhythm in Narrative Prose: the case of Karin Boye’s Kallocain (Språklig rytm i skönlitterär prosa. En fallstudie i Karin Boyes Kallocain)The concept of rhythm in prose is ambiguous, and there is no consensus on how to define it. In this work, we focus on linguistic rhythm, at word, sentence and paragraph levels. We adopt and slightly extend rhythm indicators used in previous research, and show that these can be calculated fully automatically, on a much larger scale than previously done.We adopt the Swedish poet and novelist Karin Boye’s (1900–41) novel Kallocain (1940), as a case study. It is an icily dystopian depiction of a totalitarian future, where the protagonist Leo Kall first embraces this system, but for various reasons later rebels against it. The peripety comes when he gives a public speech, questioning the State. It has been pointed out that the novel from precisely this point on is characterized by a much freer rhythm, and that Boye as an author had considerable interest in questions of linguistic rhythm. This paper sets out to test this hypothesis by applying sixteen indicators of linguistic rhythm in narrative prose (such as word length, sentence length, ratio of punctuation, etc.).We first note that we can expect differences between narrative and dialogue and limit most of our study to the first-person narrative. We find that there are significant differences mainly between phrase and word lengths in the parts before and after Leo Kall’s conversion. In a further investigation we note that there is also great variation among indicators within each part of the novel. We also show that machine learning can be used to differentiate small segments from each part of the novel, with higher accuracy than a random classifier. Finally, we undertake a small study of dialogue, which, however is mainly inconclusive. In summary we find some support for the claim that there is a rhythm break in Kallocain. We also believe that our study is important from a methodological point of view, since it provides a method for largescale studies of prose rhythm in the future.
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| 2. |
- Svedjedal, Johan, 1956-
(författare)
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Avsikter om avsikter
- 2010
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Ingår i: Språk och stil. - 1101-1165 .- 2002-4010. ; 20, s. 221-222
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Tidskriftsartikel (refereegranskat)
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| 6. |
- Svedjedal, Johan, 1956-
(författare)
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När man dödar en författare
- 2015
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Ingår i: Dagens Nyheter. ; :27/12
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 7. |
- Svedjedal, Johan, 1956-
(författare)
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Rymden och tvåkronan : Karin Boyes För lite och den författarsociala debatten
- 2009
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 130, s. 139-184
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Tidskriftsartikel (refereegranskat)abstract
- Johan Svedjedal, Rymden och tvåkronan. Karin Boyes För lite och den författarsociala debatten. (Space and the Two-Crown Coin: Karin Boye’s För lite and the debate on authors’ social circumstances.) Karin Boye’s (1900–1941) novel För lite (1936) [Too Little] depicts a writer who has failed his early promise as a literary author. To provide for his wife and two sons, he has relegated himself to a producer of popular fiction. The article begins with an examination of how Boye uses plot, symbols, psychology and references to the contemporary literary field to discuss the social and intellectual roles of different kinds of artists. The novel has often been read as a veiled piece of literary autobiography, and the article moves on to an examination of Boye’s own literary career. Although Boye had temporary difficulties in supporting herself solely by writing, there are many differences between her and the protagonist in För lite. Boye graduated as a school-teacher in the 1920s, but after a brief period of teaching she soon became a professional writer. In the early 1930s, Boye was forced to occasional reviewing and even writing of popular stories, but her main output was literary fiction, which made her an esteemed author, published by the prestigious Bonnier’s publishing house and a member of the distinguished literary academy Samfundet De Nio [Academy of the Nine]. She supplemented the remuneration for her own books with translation fees, but an important part of her income came from literary awards and grants (a general feature for literary authors of her days). As exactly as possible, her literary incomes from various sources are calculated, grants roughly equivalating the remunerations from her books, grants and remunerations both each giving her double the income from her translations. The possibility of receiving such grants is conspicuously absent in the literary world of För lite. In fact, the novel may be read as an attempt of promulgating the necessity of such grants. During the 1930s, Karin Boye took an active part in the campaign launched by Sveriges Författareförening [The Swedish Association of Authors] for giving authors compensation for the use of their books in public libraries. The gloomy representation of the writer’s conditions in För lite is perfectly consistent with arguments in this campaign. The article concludes with information on Karin Boye’s work in Sveriges Författareförening and Samfundet De Nio (the later with the main objective of dispensing literary grants and awards), and on her posthumous success as an author. The vast differences between her own literary career and that of the protagonist in För lite is stressed, maintaining that the novel is neither realistic nor mainly psychological, but an attempt to stir up debate.
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