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- Tenngart, Paul
(författare)
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En skönhet som skändar
- 2004
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Ingår i: Drömmens vin, ordets blod. Tolv föredrag om Vilhelm Ekelunds lyrik. - 9188396193
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Tenngart, Paul
(författare)
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Jag spelar er förväntan : självdramatisering i Paul Anderssons diktverk Berättarna
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Being one of the central poets in the Swedish neo-Romantic movement of the early 1950's, Paul Andersson (1930-1976) was surrounded by a bright authorial aura even before he published his first poems at the age of 21. In 1953, Andersson's reputation became nationwide when the influential poet and critic Karl Vennberg declared him to be a genius. Three years later, Andersson had published his last book of poetry. In 1959, he left Sweden to lead a difficult life in France and Italy. His silent years in exile have increased his legendary status in the history of Swedish literature. This dissertation explores the relationship between the authorial figure of Paul Andersson and his most extensive work, Berättarna. Kantat i fyra partier för kör och soli (The storytellers. Cantata in four parts for choir and soli) from 1955. By examining the different ways in which the figure of the poet is aesthetically present in the poem, the study attempts to picture a central dimension of Andersson's poetry as a whole. From the single perspective of Andersson's poem, the dissertation also aims at describing the literary climate in Sweden in the mid-1950's. The four storytellers represent different aesthetic positions. In the prologue, the poetic drama is introduced with allusions to 19th century Romanticism, the poetry of the Swedish 1940's, and the work of Arthur Rimbaud. The first storyteller is an outcast whose words propose a cosmopolitan poetics of experience and exile. The second protagonist personifies an escapist attitude towards life and literature. The third part of the poem marks a step towards a realistic poetic ideal, and the last storyteller personifies a combination of social engagement, individualism, and an aesthetics of martyrdom. Berättarna successively develops into a declaration of a new aesthetic ideal. The poem's central characteristic, however, is diversity. In Paul Andersson's self-dramatization, the ambiguity of identity and the aesthetic dimension of public reputation are used to create a multilayered depiction of an uncompromising literary endeavour.
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- Tenngart, Paul, et al.
(författare)
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Paul Andersson och martyriets estetik
- 2003
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Ingår i: Vetenskapssocieteten i Lund. Årsbok 2003. - 0349-053X. - 9197377392 ; , s. 139-149
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Bokkapitel (refereegranskat)
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- Tenngart, Paul
(författare)
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Poetry as music : The significance of musicalized poetry in the aftermath of Swedish modernism
- 2002
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Ingår i: Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft. - 0929-6999. ; 62, s. 149-161
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Tidskriftsartikel (refereegranskat)abstract
- In the 1940s, Swedish poetry saw the breakthrough of modernism. With the modernist style came a new kind of poetic aspiration towards the condition of music: semantic imitations of musical genres and attempts to create, with the help of the words' associations, an aesthetic effect similar to a musical effect. This type of intermediality, which I call semantic musicality, was inherited as a norm of poetic style by the next generation of poets, who made their debuts in the early 1950s. These poets dealt with semantic musicality in different ways, but its impact on their poetry was paramount. Their ambivalent approaches show the difficulties of inheriting a modernist norm of poetry. In my chief example, Paul Andersson's poem Berattarna. Kantat i fyra partier for kor och soli [The Storytellers. Cantala in four parts for choir and soli], the impersonal, vague, and abstract style of semantic musicality was used in an attempt to write a highly personal poem, putting forth direct social and political arguments. Here, a paradox between rhetoric and content is evident which illustrates how the semantic aspiration towards the abstract, non-verbal condition of music had been developed into a norm which limited the range of poetry, and prevented it from the social and political spheres of society. From being radical and democratic, modernism and semantic musicality had made poetry an isolated and politically harmless cultural phenomenon.
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- Tenngart, Paul
(författare)
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På Majken Johanssons Sorgenfri
- 2004
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Ingår i: Från Eden till Damavdelningen. En vänbok till Christina Sjöblad. - 9188396207
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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