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- Lagerwall, Sonia, 1967
(författare)
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L'Alchimie du Verbe : langue, magie et sorcellerie selon Chloé Delaume
- 2017
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Ingår i: Språkens magi. En festskrift för Ingmar Söhrman, professor i romanska språk / Andrea Castro, Anton Granvik, Ester Fernández Incógnito, Sara Lindbladh, Andreas Romeborn, Katharina Vajta (redaktörer). - Göteborg : Institutionen för språk och litteraturer. - 9789163953613 ; , s. 133-139
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Agrell, Beata, 1944, et al.
(författare)
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Naturalization, desautomatization, and estrangement: Problems of literary reception and cognition in academic teaching
- 2005
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Ingår i: New Tendencies in Translation Studies. Selected Papers from a Workshop, Göteborg 12 December 2003. Eds. Karin Aijmer & Cecilia Alvstad. - Göteborg : Göteborg University. - 9173465364 ; , s. 93-105
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Presentation of a research project, grounded on perspectives and concepts mainly from reception theory (Iser, Jauß, Stierle), cultural sociology (Bourdieu’s habitus), and translation theory (Lefevere, Pym). The procect aims at contributing to the know-ledge and development of theoretical and practical approaches to literary fiction in aca-demic teaching situations. The issue is how to teach the art of reading the literary text as literature—as a literary artefact and an aesthetic process – and not primarily as an il-lustration of cultural habits and ideolgies, or as didactic mediation (as is too often the case). The project starts from the idea of the literary text as a double-sided phenomenon, wavering between recognition and estrangement—which is what the title of the project alludes to. On the one hand the literary text appeals to the reader’s competence of recognizing the repertoire of the text within the current culture. Examples of ’recognizable’ elements are plot-types, motifs, generic variations, and so on. But on the other hand, what is specifically literary in the literary text is precisely the existence of estranging devices that prevent immediate recognition and desautomatize habitual ways of reading. Literary estrangement means breaking the reader’s horizon of expectations and obstructing the reading, but it also means pointing to a new frame of reference and alternative ways of seeing and understanding the text. Thus, literary estrangement both prevents spontaneous reading and promotes an attentive reading with new dimensions of perceiving, and also of reflecting on the text and the problematics displayed in it. Thus, basic assumptions are that literary texts are cultural meeting places, and that literature, as a cultural tool, desautomatizes language (Sklovskij, Lotman). This means that literature, in breaking the flow of habitual unreflective reading, also provides unique opportunities to introduce the reader to unfamiliar values, ideas and modes of thinking. Literature in this way mediates human experience from different times, cultures and societies. The project studies teaching situations in academic contexts, textual strategies in hand-books, anthologies, and literary works, and reading strategies – actual encounters between student-readers and texts. Thus, how to improve an attentive and reflective way of reading in academic teaching will be investigated. To that end textual strategies will be studied from a theoretical point of view as well as and academic student’s actual reception of them in practical teaching situations. Also how translations of literary texts affect the literary strategies will be studied, especially the interaction between devices of recognition / estrangement and their actual reception. Finally, translation in itself exemplifies a reception of the literary text translated: it is in itself a reader’s response to that text.
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- Lagerwall, Sonia, 1967
(författare)
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Quand les mots font image. Une lecture iconotextuelle de La Modification de Michel Butor
- 2007
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- In the present dissertation, Michel Butor’s third novel, La Modification, published in 1957, is studied as an iconotext in which the images are conveyed by the verbal medium alone. Focusing on the relationships between verbal and visual elements in the novel, the study distinguishes three main categories of the verbal transformation of images: ekphrasis, pictorialism and iconicity. While ekphrasis, being the verbal representation of visual representation, makes an explicit reference to the visual arts, pictorialism and iconicity are of a more allusive nature. In the first case, the dynamic world is described so as to suggest to the reader analogies with a painting, whereas in the latter case the material dimension of the text is exploited for iconic purposes. The unity of text and image thus brought forth in La Modification is analyzed in the light of an emblematic mode with its origins in the Renaissance emblem. The emblem was a hybrid art form with didactic aims in which known motifs, recycled from the Bible, Ovid’s Metamorphoses and various symbolic manuals, were put together in new configurations in order to bring about new meanings. In the emblematic composition, each component refers to another, thus prompting a circular, ongoing reading-process in which the different elements comment and nourish each other throughout the reading. The study of La Modification as an emblematic iconotext sets out to establish in what ways the unity of text and image may prepare a certain mode of reading while inscribing the reader into the text, as a co-author. GÖTEBORG UNIVERSITY (SWEDEN) Department of Romance Languages: French & Italian Section 2002
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- Lagerwall, Sonia, 1967
(författare)
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Quand les mots font image. Une lecture iconotextuelle de La Modification de Michel Butor
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In the present dissertation, Michel Butor’s third novel, La Modification, published in 1957, is studied as an iconotext in which the images are conveyed by the verbal medium alone. Focusing on the relationships between verbal and visual elements in the novel, the study distinguishes three main categories of the verbal transformation of images: ekphrasis, pictorialism and iconicity. While ekphrasis, being the verbal representation of visual representation, makes an explicit reference to the visual arts, pictorialism and iconicity are of a more allusive nature. In the first case, the dynamic world is described so as to suggest to the reader analogies with a painting, whereas in the latter case the material dimension of the text is exploited for iconic purposes. The unity of text and image thus brought forth in La Modification is analyzed in the light of an emblematic mode with its origins in the Renaissance emblem. The emblem was a hybrid art form with didactic aims in which known motifs, recycled from the Bible, Ovid’s Metamorphoses and various symbolic manuals, were put together in new configurations in order to bring about new meanings. In the emblematic composition, each component refers to another, thus prompting a circular, ongoing reading-process in which the different elements comment and nourish each other throughout the reading. The study of La Modification as an emblematic iconotext sets out to establish in what ways the unity of text and image may prepare a certain mode of reading while inscribing the reader into the text, as a co-author. GÖTEBORG UNIVERSITY (SWEDEN) Department of Romance Languages: French & Italian Section 2002
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- Lagerwall, Sonia, 1967
(författare)
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La rencontre Vargas et Baudoin. Le roman graphique Les Quatre fleuves
- 2010
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Ingår i: Actes du XVIIe Congrès des romanistes scandinaves, Jukka Havu, Carita Klippi, Soili Hakulinen, Philippe Jacob, José Santisteban Fernanez (red.), Tampere Studies in Language, Translation and Culture. Series B 5. - 9789514483394 ; , s. 715-729
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I artikeln studeras relationerna mellan text och bild i den grafiska romanen Les Quatre Fleuves (2000), ett samarbete mellan den litterärt nyskapande franska deckarförfattarinnan Fred Vargas och konstnären och illustratören Edmond Baudoin, tillika en nestor inom alternativa franska serier. Baudoin var en av de första tecknarna som satte ett autofiktionellt berättande på den franska seriekartan i början av 1980-talet.
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