| 1. |
- Björkman, Maria, 1974-
(författare)
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Möten med stillheten
- 2011. - 1
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Ingår i: Öppenhet. - Lund : Ellerströms förlag. - 9789172472303 ; , s. 123-131
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Carl-Erik af Geijerstam var en lågmäld och eftertänksam röst i den svenska litteraturen. Han ställde sig avsiktligt vid sidan av det snabbt skiftande dagsaktuella för att i diktens och essäns form begrunda i längden större frågor, viktigast av dem hur människan kan förhålla sig till omvärlden och sig själv för att inte stelna i konvention och vaneseende. Att låta varje morgon innebära nya möjligheter, att upptäcka hemligheter bland vardagens förbisedda ting – sådan var hans enkla och mångfasetterade inriktning. Under sitt långa liv (1914–2007) publicerade Carl-Erik af Geijerstam mer än tjugofem böcker, bland dem en barndomsskildring och en studie om Vilhelm Ekelund, som jämte Gunnar Björling och Rabbe Enckell utgjorde hans främsta valfrändskaper. Den integritet och det lugna tilltal som fanns i hans böcker gav honom en trogen läsekrets. Antologin Öppenhet, den första boken om Carl-Erik af Geijerstam, är redigerad av Jonas Ellerström, Louise Ekelund och Lars Bergquist och innehåller nyskrivna texter om detta stillsamma, slitstarka författarskap och personen bakom det.
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| 2. |
- Lome, Ragnild, 1987-
(författare)
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Digital estetikk hos Max Bense og Inger Christensen
- 2017
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Ingår i: Tidskrift för litteraturvetenskap. - 1104-0556 .- 2001-094X. ; 47:3-4, s. 27-39
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Tidskriftsartikel (refereegranskat)abstract
- This article examines the concept of digital poetry by the German philosopher and cybernetician Max Bense, and operationalizes it in a reading of the Danish novel Azorno (1967) by Inger Christensen. It suggests that Bense’s concept of digital poetry catches a part of the philosophical zeitgeist of the era. It expresses an idea of a doubled sense of reality – a technical reality – propelled by the mediatechnological condition of the early Information Age. This double sense of reality is traceable in Azorno, and the novel is thus read as a work of literature that both is a product of and a reflection upon the changing mediatechnological conditions in the postwar years.
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| 3. |
- Käck, Elin
(författare)
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“Swarming European Consciousness” : Europe and Tradition in the Work of William Carlos Williams
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study focuses on how the American poet William Carlos Williams (1883–1963) deals with Europe and tradition in works published between 1917 and 1928 and in unpublished material from the same period. Poems from Al Que Quiere! (1917), Sour Grapes (1921), Kora in Hell (1920) and Spring and All (1923) as well as The Great American Novel (1923) and A Voyage to Pagany (1928) constitute the core of the material. My assumption is that the hegemonic hold Europe has exerted on American writing is still in effect in the 1920s. This hegemonic hold pertains both to tradition and to contemporaneous developments within modernism and the avant-garde, whose European centers reiterate the European hegemony also when moving away from tradition.This study examines the counter-hegemonic strategies developed by Williams for tackling this hegemonic hold: recontextualization, appropriation, rewriting and excavation. Williams portrays his project as American, often entering into polemics with Europe or with poets who have left for Europe. Still, this study demonstrates how entangled his work remains with Europe as idea and trope and with European tradition, arguing that the Euro-American relationship offers an important entry-way into Williams’ output from 1917 to 1928 and that some of his poetic strategies emerge in relation to this matrix of Europe and tradition.This study focuses on place, power and language to explore Williams’ techniques, suggesting that his work from this period can be understood as a prolonged and extensive problematization of the Euro-American relationship.
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| 4. |
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A History of the Surrealist Novel
- 2023. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- A History of the Surrealist Novel offers a rich, long, and elastic historiography of the surrealist novel, taking into consideration an abundance of texts previously left out of critical accounts. Its twenty thematically organized chapters examine surrealist prose texts written in French, English, Spanish, German, Greek, and Japanese, from the emergence of the surrealist movement in the 1920s and 1930s, through the post-war and postmodern periods, and up to the contemporary moment. This approach extends received narratives regarding surrealism's geographical locations and considers its transnational movement and modes of circulation. Moreover, it challenges critical biases that have defined surrealism in predominantly masculine terms, and which tie the movement to the interwar or early post-war years. This book will appeal both to scholars and students of surrealism and its legacies, modernist literature, and the history of the novel.
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| 5. |
- Farstad, Britt Johanne, 1961-
(författare)
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Glaspärlespelaren : Nya världar, etik och androcentrism i Peter Nilsons science fiction-romaner
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on Peter Nilson’s (1937-1998) science fiction texts, and particularly on how narrative themes and structures in these texts are related to science as well as to the literary tradition of science fiction (SF). The primary texts are the novels Arken (The Ark, 1982), Äventyret (The Adventure, 1989), Rymdväktaren (The Space Guard, 1995), Nyaga (1996) as well as the short story “Kvinnan som ville ha barn med döden” (The Woman Who Wanted a Child With Death, 1987). Nilson was an established astronomer before publishing fiction, and in both novels and essays he joins “the two worlds” of the natural sciences and the humanities. My study of the reception of his work shows that his symbolic capital, his authority as a scientist, was transferred from one field of knowledge to another, thus increasing the value of his SF texts in critics’ eyes. Central to my analyses are the authorial strategies Nilson used when building bridges between natural science and the humanities, in a move evoking the Glass Bead Players in Herman Hesse’s novel The Glass Bead Game. My study shows that, unlike Hesse’s protagonists, the Glass Bead Players in Nilson’s texts accept, or even welcome, extreme consequences of scientific developments, such as the extinction of life as we know it.SF texts are traditionally categorized as either dystopic or utopic depending on the level of pessimism or optimism in their depictions of technology. I suggest instead that dystopic or utopic outcomes in modern SF novels depend on whether the texts build on an aleatoric or a teleological worldview. In aleatoric narratives, humankind is depicted as alone in the universe and thereby responsible for its own destiny. Teleological narratives feature superior, god-like forces from other worlds, which interfere with life on Earth and may elevate humans to higher levels of consciousness. The latter perspective, which is favoured in Nilson’s SF texts, entails that responsibility is removed from humankind since what happens is presented as meant to be. The tropes of the void and of creatio ex nihilo are recurrent in the examined texts, for instance through the use of myths and archetypes containing images of emptiness such as the “creation out of nothing”. Further, Nilson’s characters are often situated in a mental or physical “void” where their knowledge is of no use to them. My readings show that these voids are not empty but contain mythical and archetypal elements which activate obsolete religious ideas and gender models, such as the Logos vision: the creative power of words. This conservative tendency seems all the more surprising and problematic considering that the SF-genre is based on explorations of possible new worlds and beings.
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| 6. |
- Jonsson, Stefan, 1961-
(författare)
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Litteratur och politik
- 2021. - 1
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Ingår i: Natur & Kulturs litteraturhistoria. - Stockholm : Natur och kultur. - 9789127149403 ; , s. 338-360
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Politik är att styra och ordna ett samhälle, det må vara en stad, ett land eller ett imperium. Litteratur är på sätt och vis också att styra och ordna ett samhälle, fast inte i handling, förhandling och beslut, utan i ord – inte med en budget eller en poliskår, utan med inbillningskraft och fantasi. Människor har i alla tider sjungit och berättat. I alla samhällen har människor använt sånger och berättelser för att tolka sin gemensamma historia och sin framtid, sina utmaningar och konflikter. Exakt hur politiken flätats in i litteraturen har förstås varierat. Men det går att urskilja mönster. Vi kan undersöka hur politiken tar plats i den litterära texten. Vi kan också granska hur litteraturen tar plats i politiska skeenden.
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| 7. |
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| 8. |
- Klaubert, Hannah
(författare)
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Affective Exposures : Reading Unnatural Narratives in Contaminated Environments
- 2021
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Ingår i: SubStance. - : Project Muse. - 0049-2426 .- 1527-2095. ; 50:3, s. 34-52
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Tidskriftsartikel (refereegranskat)abstract
- To live in an environment threatened by imperceptible radiation is to live with uncertainty about the effects of radiotoxic contamination and thus about adequate affective responses. This article explores how unnatural (or anti-mimetic) narrative strategies can immerse readers into a disorienting world affected by nuclear disaster. I bring together three emerging areas of interest in ecocriticism: unnatural narratology, affective ecocriticism, and fiction dealing with nuclear disaster. While narratologists have positioned the unnatural as a means of describing physically, logically, or humanly impossible storyworlds (Alber et al. 102), my readings show how the affects engendered by anti-mimetic texts are actually adequate means to portray the `sensory disorder' (Masco) provoked by imperceptible radiation.
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| 9. |
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| 10. |
- Malmqvist, Jenny
(författare)
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Belfast Textiles : On Ciaran Carson’s Poetics
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is a study of the formation and development of Ciaran Carson’s poetics from his debut in the 1970s up to and including his fourth principal collection of poems, First Language, published in 1993. Examining Carson’s recourse to different kinds of rewriting, made manifest as intertextuality and translation, it aims to account for the thematic formulation and formal realization of this poetics.The poetics is elicited from two distinct groups of poems. The first group comprises poems, given in the consecutive volumes The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) and First Language, in which textile techniques serve metaphorically as poetic techniques. These poems are read as formulating a poetics which is formally realized in a second group of poems in which rewriting is the dominant technique. By examining the textile/textual metaphors, and their gradual reconfiguration, and the different manifestations of rewriting in Carson’s work the thesis seeks to describe and demonstrate some of the main principles and expressions of this poetics and its development over time.The thesis sees rewriting as integral to Carson’s poetic method: Earlier texts are deliberately drawn upon and made a constitutive part of a new poem. To account for the textual relations and their effect on meaning-making perspectives are borrowed from theories of intertextuality, especially intertextuality as conceptualized by Gérard Genette and Laurent Jenny, as well as from contemporary translation studies and poetics. A theoretical framework is also provided by the textile/textual metaphors which are employed as analytical tools.It is argued that rewriting is not an end in itself but an important means for the poet to articulate his views on both aesthetic and historical issues. The thesis relates the practice of rewriting to a prominent concern in Carson’s work: the relation between form and material and how to adequately express the complicated experiences associated with Northern Ireland in poetic form. The thesis contends through detailed analysis of Carson’s strategies of rewriting that his persistent recourse to recycling discloses his attentiveness to his own poetic expression and that his poetics should be seen as both an aesthetics and an ethics – an evolving response along both aesthetic and ethical lines to the complexities of his situation and his role as a poet.
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