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- Leblanc, André
(författare)
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Douleur et intersubjectivité dans Adolphe de Benjamin Constant
- 2006
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Ingår i: Actes du XVIe Congrès des Romanistes Scandinaves. - Roskilde : Department of Language and Culture, Roskilde University. - 8773496847 ; , s. 1-17
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Dans la quête des sources du malaise profond qui parcourt toute l'oeuvre de Benjamin Constant, on ne peut qu'être frappé par la place qu'occupe la douleur dans les préoccupations de cet auteur. Adolphe constitue à ce titre un bon exemple de ce phénomène, mais pour en rendre compte convenablement, il convient de l’examiner dans ses rapports avec la mauvaise conscience tant ces deux sentiments sont interchangeables et entretiennent des liens de cause à effet. Après avoir déterminé les modalités selon lesquelles douleur et mauvaise conscience se conjuguent, il est vite apparu que la douleur modelait l’intersubjectivité par le recours à des thèmes proches comme la pitié et la compassion, voire la cruauté et la tyrannie. Cette configuration complexe de la douleur n’a bien souvent pas été prise en compte par la critique qui s’est souvent servi d’Adolphe pour porter un jugement moral sur Constant alors qu’il aurait été plus judicieux de tenter de déceler les enjeux de la douleur non seulement pour le narrateur et son amante, mais aussi pour le lecteur.Dans la quête des sources du malaise profond qui parcourt toute l'oeuvre de Benjamin Constant, on ne peut qu'être frappé par la place qu'occupe la douleur dans les préoccupations de cet auteur. Nombre de réflexions théoriques à propos de la douleur se retrouvent dans les différents écrits sur la religion, mais le thème de la souffrance est aussi repris dans les écrits intimes et les oeuvres de fiction pour y exprimer le malaise ressenti par la douleur causée à autrui. Adolphe offre un excellent exemple d’exposition de la douleur dans la mesure où elle constitue la trame principale du récit. S’y trouvent aussi des enjeux nombreux et d’importance, mais difficiles à percevoir en raison de la grande charge émotive imprégnant les relations d’Adolphe et d’Ellénore et de la structure narrative particulière à cette oeuvre. Pour nous aider à déterminer les enjeux de la douleur, il sera dans un premier temps utile d’en examiner les manifestations dans ses relations avec la mauvaise conscience qui taraude le narrateur tout au long du récit. S’attacher à percevoir les liens entre ces deux sentiments n’est en rien arbitraire dans la mesure où ils s’imbriquent dans une causalité réciproque.
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- Rouse, Rebecca, et al.
(författare)
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A prehistory of the interactive reader and design principles for storytelling in postdigital culture
- 2020
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Ingår i: Book 2.0. - : Intellect Ltd.. - 2042-8022 .- 2042-8030. ; 10:1, s. 7-42
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Tidskriftsartikel (refereegranskat)abstract
- This article examines historical examples to illuminate a prehistory of the interac- tive reader in analogue media, tracing a rich genealogy that is helpful for under- standing and designing current works such as augmented reality (AR) books. In addition, a set of generative design strategies to help shape current practice are discussed, based both on formal qualities and characteristics of historical exam- ples and the authors’ own experiences as designers working in mixed reality over many years. Theoretical framing is provided to persuasively make the case for the relevance of historical works for designers today. From medieval manuscripts, to Renaissance medical texts, to seventeenth, eighteenth and nineteenth century movable books, to the elaborate paper engineering of twentieth century and contemporary pop-up books, the history of the active reader and interactive book design is long and fascinating, and is presented here as an important and direct source of inspiration for digital designers today. Finally, recent interactive book projects designed by the authors are discussed and analyzed for both continuities and disruptions of historical interactive book design strategies, and a framework is presented for conceptualizing the postdigital interactive reader today.
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- Almer, Johan, 1961-
(författare)
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Att bli själsligt alfabetiserad : Ingmar Bergmans Scener ur ett äktenskap som en väg till självkännedom (Bergmans berättelser)
- 2018
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Ingår i: TijdSchrift voor Skandinavistiek. - : Tijdschrift voor Skandinavistiek. - 0168-2148 .- 1875-9505. ; 36:2, s. 92-98
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Tidskriftsartikel (refereegranskat)abstract
- Scenes from a Marriage (1973) marked a breakthrough for Ingmar Bergman (1918-2007), reaching awide audience both nationally and internationally. Scenes from a Marriage is also Bergman's first television series and today his most performed play in theatre around the world. Productions of Scenes from a Marriage in different media, such as television series, feature films, a book and in the theatre,has made it Bergman's most widespread work. Scenes from a Marriage was also of great importance to many individuals, influencing them to make crucial changes in their lives and relationships. Bergman's story of the marriage of two people, a marriage in crisis, divorce and reconciliation has obviously something to say to many of us who have watched, listened to, or read the story. What then does it tell us, and in what way is the story told? This question is addressed in an analysis of the work's composition,with particular emphasis on narrative techniques, motifs and the underlying theme, based on the Swedish book version. The six scenes in the book all take a dramatic form and present the same basic literary motif in different ways: a relationship based on love between two people in a very difficult situation.This motif, in turn, unfolds within the overall theme of the work: the human search for truth. This transforms the scenes into something more than just a story about a marriage crisis, becoming a story about two people's search for meaning in life. This aspect of the story is perhaps the main reason why Bergman's Scenes from a Marriage has reached out and touched so many people and still does. There is also a critical dimension to the search for truth, questioning the conventions and traditions of marriage and society. This analysis is the first in a series of analyses of Ingmar Bergman's written works.
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- Almer, Johan, 1961-
(författare)
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Att sätta döden ur spel : En analys av Tomas Tranströmers dikt "Medeltida motiv"
- 2018
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 139:-, s. 162-177
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Tidskriftsartikel (refereegranskat)abstract
- To knock Death out of the Game. An analysis of Tomas Tranströmer’s poem “Medieval motif ”The Swedish poet Tomas Tranströmer’s (1931–2015) poem “Medieval Motif ”, from For Living and Dead (1989), takes its visual point of departure in the motif “Man who plays chess with Death about his life”. A motif also found in medieval visual arts (Albertus Pictor, 1440–1509) and in modern film art (Ingmar Bergman, 1918–2007). In both Pictors painting, ”The Game of Chess with Death” (around 1480), and Bergman’s film The Seventh Seal (1957), Death knocks man out of the game by checkmate. In Tranströmer’s poem, however, things turn out somewhat differently. In “Medieval Motif ” there is unique word in Swedish poetry, “frisörsaxklippande” (“barber-scissor-like clipping”), as a determination for a sound. The analysis of the poem tries to answer a number of questions: What is this sound exactly? Why does the sound occur in a poem about a motif from the Middle Ages? What function does the sound have for the poem as an artistic whole? The “Medieval motif ”, which besides the title consists of two Sapphic stanzas, is the subject of an in-depth motif analysis and of a composition analysis. In summary, the analysis shows that the “Medieval motif ” forms an epiphany where the motif of Vanitas contributes to the understanding of the moment of togetherness as time and space cease to exist, and a previously hidden truth is revealed. As a part of that truth, Death is knocked out of the game.
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