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- Fjelkestam, Kristina, 1967-
(författare)
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Ungkarlsflickor, kamrathustrur och manhaftiga lesbianer : Modernitetens litterära gestalter i mellankrigstidens Sverige
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Women´s emancipation created and was created by modernity. During the Swedish interwar period this process was depicted in contemporaneous novels written by and about women. These novels make up about three per cent of the fictional prose published at the time, but they still constitute a blind spot in Swedish literary history. Therefore this study has the character of basic research. It aims, moreover, to analyse representations of femininity. Specific attention is paid to the figures of the Bachelor Girl, the Mannish Lesbian, and the Companionate Wife.These representations can all be placed under the heading of the New Woman. During the interwar period the New Woman, in capital letters, developed into everyday new women. On the one hand, this development implied a move towards traditional constructions of femininity. On the other hand, it became necessary to get rid of the New Woman, a sign that previously possessed political force but now was rendered banal and commodified. The time had come for women to be subjects in their own complex (hi)stories.This is exactly what happens in the three main novels of this study, namely Ulla Bjerne´s Ingen mans kvinna (No Man´s Woman) from 1919, Margareta Suber´s Charlie from 1932, and Ester Lindin´s Tänk, om jag gifter mig med prästen! (What if I Married the Vicar!) from 1940. In Ingen mans kvinna the female character pursues a career as an author, and the novel is suggested to be Sweden´s first genuine female ”Künstlerroman”. But as such, the male has to be literally sacrificed. In Charlie, the first Swedish novel with a lesbian protagonist, the reductive categorisations of homosexual women are transcended. But as yet, the novel could not provide words to describe women taking sexual initiatives. In Tänk, om jag gifter mig med prästen! the main character demands - and receives - social acceptance for both herself and her illegitimate child. But she is subdued during the process.Nevertheless, new women were now integrated as self-evident participants in the modern society of interwar Sweden, of which the contemporaneous novels by and about women were part and parcel.
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- Ingbrant, Renata, 1966-
(författare)
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From Her Point of View : Woman's Anti-World in the Poetry of Anna Świrszczyńska
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This book is a monograph about Anna Świrszczyńska’s poetry. It may be described as one woman’s attempt to read another woman’s literary work by taking into account established canons as well as the tools of feminist literary analysis. Part One begins with a discussion of Świrszczyńska’s biography (Chapter One). It then moves on to an overview of critical (mainly male) reactions to Świrszczyńska’s work (Chapter Two), with special regard to Czesław Miłosz’s contribution to its interpretation and popularization (Chapter Three). In Part Two there are three principal discussions: 1) of Anna Świrszczyńska’s early work Wiersze i proza [Poems and Prose] (1936), in which the poet develops her specific female view of European art and culture as disintegrated into incongruent fragments. Her premonition of the apocalypse, which is soon to be fulfilled in the events of World War II, finds its expression in the poet’s desperate attempts to unite the fragments of a shattered culture into individualized versions of myths (Chapter Four); 2) of the collection Budowałam barykadę [Building the Barricade] (1974), in which what is most crucial to the poet (biographically and poetically) is expressed – the encounter with human suffering in an inhuman world. Following this, her poetic view of the mortal body exposed to suffering under an empty sky becomes a well established motif in her work (Chapter Five); 3) of the collection Jestem baba (1972), in which Świrszczyńska introduces into poetry, by making the non-poetical “baba” her lyric heroine, the “outlawed feminine” and, as a result, revolutionizes the language of poetry and poetic representation, which leads in turn to liberating herself from the hegemony of the totalizing male gaze. In this way her anti-world is created (Chapter Six). The “world” is understood here as a male term – one might say that Świrszczyńska creates a “woman’s anti-world” as a place where the woman herself has to regain the right to name things according to her own terms.
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