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- Arping, Åsa, 1968, et al.
(författare)
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Poesi och politik 1800–1870
- 2017
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Ingår i: Nordens litteratur, red. Margareta Petersson & Rikard Schönström. - Lund : Studentlitteratur. - 9789144083322 ; , s. 175-248
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Bokkapitel (refereegranskat)
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| 2. |
- Arping, Åsa, 1968, et al.
(författare)
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Sammanfattning
- 2017
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Ingår i: Nordens litteratur, red. Margareta Petersson & Rikard Schönström. - Lund : Studentlitteratur. - 9789144083322 ; , s. 247-248
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Bokkapitel (refereegranskat)
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| 3. |
- Hermansson, Gunilla, 1974
(författare)
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À propos Rosa Luxemburg : Nordiske modernister tolker revolutionens og avantgardens grænser
- 2016
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Ingår i: Tidskrift för litteraturvetenskap. - 1104-0556. ; 46:3-4, s. 5-24
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Tidskriftsartikel (refereegranskat)abstract
- Staging oneself as an avant-garde or modernist writer during the inter-war period involved precarious negotiations between the national, regional (in this case the Nordic) and international roles and positions. But these were also influenced by the notion that avant-garde art and aesthetics depended on violence, a violence which was more often than not encoded as masculine. For this reason, literary images of the woman revolutionary are particularly revealing for the issues and ideas at stake. This article views two interpretations of Rosa Luxemburg by Emil Bønnelycke and Hagar Olsson as part of a larger pattern concerning the dynamics between cultural centres and peripheries as well as the connection between avant-garde aesthetics and violence. When Emil Bønnelycke first read his Rosa Luxemburg. Prosalyrisk Symphoni pathêtique in memoriam in Februart 1919, he chocked and excited the audience by drawing a revolver firing it at the cealing at the moment of Luxemburg’s death. Interestingly enough, Bønnelycke’s Luxemburg is represented in two ways: one is the weak woman who is entirely directed towards the masculine power and hatred which she finds embodied in Liebknecht. The other Luxemburg is presented in stylized passages that function as a leitmotiv in the short work. Here she is a young girl with a child’s holy passion and a, as of yet, passive defiance against the evils she has witnessed. Luxemburg is de-erotizied in both versions; but whereas the middle-aged woman painfully exhibits her impotence, the young girl is invested with a power of resistance, which is nonetheless non-acute. This appears to be Bønnelycke’s way of restoring gender roles without completely disarming the energy of revolution which he needed in order to be able to represent the ”European panic” in Denmark, under relatively safe conditions. In the inter-war period, Hagar Olsson paradoxically interpreted Finland as a neutral, Nordic country, out of contact with the Euopean war and revolutions. Instead, she was inspired from her experiences of the communist uprising in Estonia 1924, publishing her own translation of a poem dedicated to Luxemburg by a young communist poet, Ida Meerits. The context was an article from 1925 dedicated to a new type of poet: the singing revolutionary. Olsson singled out the word flyttfåglar (”migratory birds”) from the poem and used it to reflect on the borders of art and revolution, a theme she developed in other articles as well. She wrote that, in their internationalism, the new, engaged poets were like migratory birds. But her discussions also concerned the violence of revolution and the avant-garde geography as a power play between dominating and dominated literatures. The figure of the women revolutionary in Olsson’s dramas, S.O.S. (1928) and Det blåa undret (The Blue Wonder, 1932), and in the photo-novel På Kanaanexpressen (On the Canaan Express, 1929) further highlights the complex ways in which Olsson combined the problem of violence, avant-garde aesthetics and gender in her inter-war work.
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| 4. |
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| 5. |
- Hermansson, Gunilla, 1974
(författare)
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Almqvist, Euphrosyne och problemet med världslitteraturen
- 2018
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Ingår i: Almqvistvariationer : receptionsstudier och omläsningar / red.: Anders Burman & Jon Viklund.. - Göteborg : Makadam. - 1402-1285. - 9789170612763 ; , s. 191-214
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Hermansson, Gunilla, 1974
(författare)
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C. J. L. Almqvist, Murnis: Idyllion. Samlade verk, serie III: Otryckta verk
- 2019
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Ingår i: Romantik: Journal for the Study of Romanticisms. - Göttingen : V&R unipress. ; 2019:8, s. 155-158
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Review of: C. J. L. Almqvist, Murnis: Idyllion. Samlade verk, serie III: Otryckta verk. Ed. by Petra Söderlund, Stockholm: Svenska Vitterhetssamfundet, 2018 (Xxviii + 140 pp.)
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| 7. |
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| 8. |
- Hermansson, Gunilla, 1974
(författare)
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Hagar Olsson and the Soldier of Modernism - War, Brutality and Borders in the Interwar Period
- 2019
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Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 / Editors: Benedikt Hjartarson, Andrea Kollnitz, Per Stounbjerg and Tania Ørum. - Leiden, Boston : Brill Rodopi. - 9789004388291 ; , s. 730-745
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Bokkapitel (refereegranskat)abstract
- For the Swedish-speaking Finnish writer and critic Hagar Olsson, modernism and war were closely connected. Modern art was perceived not just as brutal and provocative in itself, but as arising from the fierce energies of World War I and at the same time embodying a protest against it. This essay examines how Olsson simultaneously appropriated and critically assessed different avant-garde aesthetics in her utopian and anti-militarist photo-novel På Kanaanexpressen (On the Caanan Express, 1929). It is viewed as part of a more widespread tendency among Nordic artists during the 1920s to deal with war and revolution as a way of testing avant-garde aesthetics/ideology “at home”. Whereas other novels by Emil Bønnelycke, Tom Kristensen and Elmer Diktonius also exhibit ambivalent attitudes to the ties between violence, masculinity and avant-garde aesthetics, Olsson’s novel stands out as even more radical in its experimental form as well as offering a more complex analysis of the role of gender.
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| 9. |
- Hermansson, Gunilla, 1974
(författare)
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Imagined Wars and Cultural Borders: A Case of Nordic Modernism
- 2015
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Ingår i: Ideas in History. - 1890-1832. ; 8:2, s. 5-24
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Tidskriftsartikel (refereegranskat)abstract
- The article deals with negotiations of borders and identities that occupied avant-garde and modernist literature in the aftermath of World War I. Developing the close ties between war, national borders and avant-garde aesthetics, the discussion focusses on the case of two Danish novels which simultaneously tested different avant-garde gestures and discourses and the experience of war and revolution by forcing European armies onto neutral Danish soil: Spartanerne (1919) by Emil Bønnelycke and Livets Arabesk (1921) by Tom Kristensen. The novels not only exhibit an apparent desire to connect to the European avant-garde but also a need to examine and curb the violent energies pertaining to it. The novels may be viewed as exemplary of how different ideas of cultural borders regarding nationality, gender, ideology, and artistic groupings were examined and processed imaginatively at this specific moment in European history.
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