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- Henrikson, Paula, 1975-, et al.
(författare)
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Introduction : Time, Temporality, and Travel Writing
- 2021
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Ingår i: Time and Temporalities in European Travel Writing. - New York : Routledge. - 9780367653903 ; , s. 1-24
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Båth, Katarina, 1977-
(författare)
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Ironins skiftningar — jagets förvandlingar : Om romantisk ironi och subjektets paradox i texter av P. D. A. Atterbom
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation explores the intimate relationship between irony and romantic subjectivity, by drawing on feminist psychoanalytical theory, via an examination of the shiftings of irony, and humor, in the works of the Swedish romanticist P. D. A. Atterbom (1790–1855). It looks at the critical role played by irony in the formation of Romantic subjectivity, and explores irony’s potential to undermine dualistically gendered notions of subject-object relations. For Atterbom, irony is an aesthetic concept closely related to drama, informed not only by German Romantic-ironic theorists such as Friedrich Schlegel and Jean Paul, but also by the works of Shakespeare, Ludwig Tieck, and E. T. A. Hoffmann.The thesis follows the shiftings of Romantic irony in Atterbom’s major literary texts: the cycle of poems Blommorna [The Flowers] (1811), where the Ovidian transformations are used metafictively to play with the relation between poet, poem, and reader; and the literary satire Rimmarbandet [The Rhyme Band] (1810), which, inspired by Tieck’s Der Gestiefelte Kater (1797), uses the metafictive theatre-in-the-theatre motif, as well as carnivalesque and grotesque motifs to expose contrived theatricality and homosocial misogyny in the prevailing culture. The dynamic between the satirist’s subject and the attacked object is a polarized power struggle, where revolt is followed by submission. In this respect, Romantic satire is here conservative. In the fairy tale play Lycksalighetens ö [Island of Felicity] (1824–27), tragedy’s irony is a dialectic between the ideal and the real that strives to create both inner and outer renewal. The play reaches out metafictively to the reader and turns her/him into the poet of a new version of the fairy tale. The reading/writing process inscribed in the work thus becomes a form of renewal and liberation from grief, and old, patriarchal gender roles. Finally, the humorous, unfinished idyll Fågel Blå [Blue Bird] (1814, 1818, 1858) is a work in many pieces, a fragment, a sketch and a non finito that together stages a restorative creative process, where the reader is asked to take part in joining together the scattered parts of Blue Bird itself.To conclude, irony is a feature of Romanticism, which makes the Romantic, literary subject relational and dialogical, open to its Other, and herein lies a form of ethics and an escape from a conventional, patriarchal notion of the self. I discuss this with Julia Kristeva’s theories on how subjectivity changes when it becomes poetic and Jessica Benjamin’s Winnicott-influenced theory of how play can offer a way out from patriarchy’s strict gender roles. The shiftings of irony in Atterbom’s work show a development from the satirical subject, where an aggressive form of self-assertion conceals a lack of individuality – via tragedy’s painstaking efforts to integrate repressed aspects of the self – to the idyll’s more harmonious subject, who has the capacity to laugh at him/herself and see both the grotesque in the holy, and the holy in the grotesque.
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Codex and Code : Aestethcis, Language and Politics in an Age of Digital Media, NORLIT 2009, Stockholm, August 6-9, 2009
- 2010
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The conference Codex and Code: Aesthetics, Language and Politics in an Age of Digital Media (NorLit 2009)was held at the Royal Institute of Technology (KTH) in Stockholm, August 6–9, 2009. The conference was organized by the Nordic Association for Comparative Literature (NorLit); the Department of Culture and Communication, Linköping University; the School of Computer Science and Communication, Royal Institute of Technology (KTH); the Department of Comparative Literature, Stockholm University; the Department of Culture and Communication, Södertörn University College; and the Department of Comparative Literature, Uppsala University. The aim of the conference was to develop the study of Comparative Literature through Nordic collaboration both in its own discipline and in Modern Language and Cultural studies. As the title for the conference suggests, the principal question for the conference was the challenge that the study of literature encounters in an age of digitalization and globalization. It was our aim to encourage discussion of how literary studies respond to the ongoing changes in media and technology, politics and economy. Many have argued that the Humanities currently are in a state of crisis. We believe that the discipline seldom has found itself in such an interesting and fruitful historical moment. Several of these questions have surfaced during earlier media system changes, in particular during Romanticism and Modernism, which provided the conference with an historical frame. The conference Codex and Code also addressed questions of authenticity and originality, identity and gender, literary genres and reading practices, media and materiality, culture and popular culture, language and history, world literature, work aesthetics, translations, and canon formation. The conference Codex and Code wanted to stimulate interdisciplinary scholarly research of the literary in a broad sense. The conference was open to scholars in Comparative Literature and in Classical and Modern Languages, Aesthetics, Media and Communication studies, Film and Theatre studies, Philosophy and adjacent disciplines. The conference was organized around a number of thematic sessions in which researchers and scholars presented and discussed papers. The conference has received generous financial support from the Bank of Sweden Tercentenary Foundation, Magnus Bergwall foundation, Granholms foundation, Linköping University, School of Computer Science and Communication, Royal Institute of Technology, Svenska litteratursällskapet; the Swedish Academy, Swedish Science Council, and Vitterhetsakademien.
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- Dahlern, Tanja von, 1978-
(författare)
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Moving Images of Literature : Transformations of Literature in Contemporary Video and Film Installation Art
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study aims to contribute to a better understanding of the many engagements with literature beyond the literary field. More specifically, it studies different ways of staging and transforming literature in video and film installation since the 1990s. The dissertation presents a close reading of four artworks, each representing a key approach to transformation: Stan Douglas’ Der Sandmann (1995), based on E.T.A. Hoffmann’s 1817 short story of the same title; Gerard Byrne’s 1984 and Beyond (2005–07), a staging of a conversation between science fiction writers, originally published in Playboy magazine in 1963; Fiona Tan’s Disorient (2009), which takes Marco Polo’s travelogue from the late thirteenth century as its point of departure; and Kutluğ Ataman’s The Complete Works of William Shakespeare (2009), derived from Shakespeare’s plays. Video and film installation occupies an important position in contemporary art, often using pre-existing cultural material from other media. Its specific temporal and spatial structure makes it a particularly rich art form for the study of how literary works are transformed, and what images of literature, in its broadest sense, are used and set in motion. The focus is on processes of transformation through selection and modification, interpretation, reframing, and shift in media. The study is informed by theories from the fields of intertextuality, intermediality, adaptation studies, and artistic appropriation.Each of the artists turn to widely-known works or authors. The approaches to literature range from the projection of alphanumeric text to the staging of a conversation between authors, which shifts the focus from the literary work to the discourses and conditions of literature. It becomes clear that the artists, in their installations, do not necessarily perform retellings of their sources. Literature is discussed in its role as a vehicle for cultural values, as a place where narrative conventions are negotiated, and where cultural space is mediated and constructed. All the studied artists employ a variety of devices of estrangement. The dissertation especially discusses the oscillation between source and derived work in relation to the installations’ self-reflexive form.
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