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- Alfredsson, Johan, 1974
(författare)
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EVERY Word should Do a Full Time Job – the Politics of Maximalism, DJ:ism, and Lars-Mikael Raattamaa
- 2012
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Ingår i: Material Meanings Third Biannual conference of the European Network for Avant-Garde and Modernism Studies (EAM) Canterbury, Storbrittannien, 2012-09-09.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper is an attempt to take into joint account Jacques Rancière’s take on “politics” as a heterogeneous force, and Gilles Deleuze’s and Felix Guattari’s concept of “becoming”, when approaching contemporary avant-garde poetry. It could be argued that such an operation runs the risk of being self-confirming, or circular, due to the fact that the ideas of an ideal heterogeneity that permeate both these theoretical concepts also does play a vital part in the political avant-garde of the day. This risk might also be why such ventures are so rare. However, that particular line of argument could of course be reversed, just as well. If contemporary avant-garde, on the one hand, and critical theory, on the other, share certain basic assumptions, why should the relation between the two not be examined more closely? In this paper I will examine how Swedish contemporary poet Lars-Mikael Raattamaa, in his book Mallamerik, mallammer, malameri, mallame, amerik, mallameka, merrika…, attempts a move away from conventional poetic form. This attempt is in many ways analogical to how “the political” according to Rancière moves away from “polis”, and how the “becoming” (and related concepts in the writings of Deleuze/Guattari, like “nomadic”, “de-territorialisation”, “flesh”, “the molecular”, “the rhizom”) moves away from form and stability. This particular Raattamaa-book employs a poetics which could be described in terms of “maximalism”. More specifically, a modus of the DJ is used in order to create a kind of heterogeneous flow. Within this flow, certain conventional literary cue points, such as punctuation, syntax, author, are questioned, at least symbolically. Through text-strategies that could be labelled “maximalist”, or “political”, or “becoming”, Raattamaa performs a severe critique of the supposedly stable hierarchies of conventional poetic language, i.e. the “polis” (Rancière), or the “body” (Deleuze/Guattari).
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- Alfredsson, Johan, 1974
(författare)
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Ida Börjel and the Politics of Form
- 2011
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Ingår i: "Norlit 2011. Conference on Literature and Politics", 2011-08-05, Roskilde, Denmark.
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Konferensbidrag (refereegranskat)abstract
- The paper studies the political implications of linguistic and literary conventions, through theorists like Jean-Jacques Lecercle, Jacques Rancière, and Marjorie Perloff. My touchstone will be the poetry of Swedish contemporary poet Ida Börjel. What is focused in Börjel’s writing is her tendencies to use “found objects”, and to question the representational function of language, as its primary function. These tendencies correspond well to e.g. Rancière’s thoughts on literature and its relation to life, as well as to Lecercle’s discussions on the barriers between what is inside language’s conventions, and what is left outside (“the remainder”). The paper dwells on certain political dimensions of theories like theirs, from a perspective which might, at least to a certain extent, be described as culture-semiotic: What ideologies come with a certain semiotic understanding, with certain linguistic conventions? And what ideologies surface when these conventions, this understanding, is questioned in one way or the other? Concepts like parataxis and language materialism will be crucial to my discussion, since these concepts (or at least certain facets of them) stress functions of language and literature which are not representational. Lecercle’s theories on “the remainder” of language prove very effective when applied not specifically as linguistic tools primarily, but as tools for literary analysis. Especially when one approaches a literature which tries to scrutinize, and even transgress, its own boundaries and conventions – as does Börjel’s. This concept also proves a useful complement in relation to Rancière’s more qualitative concept of the “political”, and its relationship to literature specifically. Rancière speaks mainly of the novel, and Lecercle mainly of language (in more general terms). Within the habitat of Marjorie Perloff’s theories of experimental poetry, these two theoretical perspectives can find an environment where literary form and politics have a lot to say to each other. And the outcome of such a discussion would have relevance when it comes to the relationship between such politically radiant pairs as nature and culture, or ecology and economy.
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- Alfredsson, Johan, 1974
(författare)
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Teaching Poetry Through Mediatization…and Back Again…
- 2014
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Ingår i: CERCOP-conference on Poetry, Mediatization and New Sensibilities,Aarhus, Danmark, 2014-12-05.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Poetry has gained new momentum over the last couple of decades, due to the digital revolution. It could be argued, somewhat paradoxically, that this is to a large extent indebted to the fact that poetry for a long period before this moved further and further into a hermetic margin: due to this marginalized position poetry, ironically, seemed to have nothing to lose when new media came along. In comparison to e.g. prose, poetry has embraced the digital revolution to a much larger extent. An outcome of this development is that poetry has (over the last 10-15 years) been busy creating all sorts of alliances – not only with new media, but also with other art forms – in an unprecedented way (the phenomenon is by no means new, but the level of extent is). These alliances have resulted in a wide range of new forms of poetry, all based on ideas of heterogeneity, and even impurity. Stefan Kjerkegaard (2010) has made a distinction between ”lyric” and ”poetry” within contemporary poetic practice, in order to tell the dense, esoteric, and principally monologic, tradition (lyric) apart from the more recent tradition which is instead based on impurity, heterogeneity and mediatization (poetry). My paper suggests that the study of this second, more recent, poetic tradition offers vast opportunities, not least within our educational systems. Contemporary poetry has, like few other art forms, taken on the challenges of mediatization and of digital information technologies. Within it, you can therefore see media and marketing logic, being both employed and scrutinized to an unusually high degree (i.e. contemporary poetry does not only relate to media logic, it also involves in a discussion on its political (Cf. Rancière) consequences). The didactic interface of new media-studies when studying contemporary poetry would therefore be very rewarding – and vice versa. In my paper I will show this by using a couple of poetic examples from the last decade.
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- Alfredsson, Johan, 1974
(författare)
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The Politics of Form – Lars-Mikael Raattamaa and Anna Hallberg
- 2011
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Ingår i: "Across Media – Contemporary Literature and Media Culture", 2011-05-06, Trondheim, Denmark.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What happens when a writer crosses the boundaries of literature? This is a question which it is quite pointless to ask, unless you state your theoretical point of departure. When that has been done, however, it is one of the most important issues which a literary scholar can raise. Through certain parts of the theories of Jean-Jacques Lecercle (mainly his concept of the “remainder” in language), Marjorie Perloff (mainly her discussions of how free verse is convention-based, and of what comes out of that insight: what she labels “after free verse”), and Jacques Rancière (mainly his concepts “polis” and “the political”), I aim to discuss what happens when Swedish contemporary poets Anna Hallberg and Lars-Mikael Raattamaa during recent years have sought to actively cross the boundaries of literature. These theoretical perspectives enable me to dwell on the political implications of this kind of boundary-crossing. This political dimension consists of a critique not only of the conventions of literature, but also of the modernist view of e.g. free verse. The crossing of literature’s boundaries not only moves them. More importantly, in these cases, it identifies them; it even highlights them, rendering them open for scrutiny.
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