| 1. |
- Bak, Krzysztof, et al.
(författare)
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Carl Snoilsky’s Svenska bilder and Cultural Memory in the 19th Century
- 2023
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Ingår i: Studia Litteraria Universitatis Iagellonicae Cracoviensis. - 1897-3035. ; 18:1, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- This article presents the research project “Searching for a New National Identity: The Construction of Swedish Cultural Memory in Carl Snoilsky’s Poems Svenska bilder”, and functions as an introduction to the four subsequent articles in this issue of Studia Litteraria, which are the result of the project. The principal aim of the project was a comprehensive analysis of the construction of cultural memory in Carl Snoilsky’s cycle of poems Svenska bilder (Swedish Pictures) for many decades being part of the core canon of Swedish literature, but which remains largely forgotten today. In part one, the article outlines the complex process of the creation and publication of Svenska bilder. It also reviews the state of research on Snoilsky’s cycle, justifying the need for new theoretical perspectives. In part two, the article analyses ways in which national memory is portrayed in Svenska bilder at different intra- and extranarrative levels, arguing that cultural memory and its preservation are among the central themes of the cycle. In part three, the article illuminates the construction of cultural memory in Svenska bilder as an example of nineteenth-century European cultural memory. The article considers three features, typical of nineteenth-century collective memory culture, to be particularly important for Snoilsky’s poems: subjectivisation, historicisation, and nationalisation. In part four, the article discusses Svenska bilder as an attempt to democratise the model of Swedish national memory created by the Romantics. The article argues that the cultural memory in Svenska bilder in many ways reflects the liberal ideas of the second half of the nineteenth century advocated by Snoilsky. In part five, the article examines the place of Polishness in the construction of Swedish cultural memory in Svenska bilder. Although Snoilsky considered himself a friend of Poland and an advocate for the Polish independence movements, in his cycle he assigns Polishness the role of the negative Other that serves to consolidate a positively characterised Swedish national identity. The article concludes with a short presentation of the four articles that are the fruits of the presented project.
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| 2. |
- Bak, Krzysztof, 1958-, et al.
(författare)
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Carl Snoilsky’s Svenska bilder and Cultural Memory in the 19th Century
- 2023
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Ingår i: Studia Litteraria Universitatis Iagellonicae Cracoviensis. - 1897-3035 .- 2084-3933. ; 18:1, s. 1-19
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Tidskriftsartikel (refereegranskat)abstract
- This article presents the research project “Searching for a New National Identity: TheConstruction of Swedish Cultural Memory in Carl Snoilsky’s Poems Svenska bilder”, and functions as an introduction to the four subsequent articles in this issue of Studia Litteraria, whichare the result of the project. The principal aim of the project was a comprehensive analysis ofthe construction of cultural memory in Carl Snoilsky’s cycle of poems Svenska bilder (SwedishPictures) for many decades being part of the core canon of Swedish literature, but which remainslargely forgotten today. In part one, the article outlines the complex process of the creation andpublication of Svenska bilder. It also reviews the state of research on Snoilsky’s cycle, justifyingthe need for new theoretical perspectives. In part two, the article analyses ways in which nationalmemory is portrayed in Svenska bilder at different intra- and extranarrative levels, arguing thatcultural memory and its preservation are among the central themes of the cycle. In part three,the article illuminates the construction of cultural memory in Svenska bilder as an example ofnineteenth-century European cultural memory. The article considers three features, typical ofnineteenth-century collective memory culture, to be particularly important for Snoilsky’s poems:subjectivisation, historicisation, and nationalisation. In part four, the article discusses Svenskabilder as an attempt to democratise the model of Swedish national memory created by the Romantics. The article argues that the cultural memory in Svenska bilder in many ways reflects the liberal ideas of the second half of the nineteenth century advocated by Snoilsky. In part five,the article examines the place of Polishness in the construction of Swedish cultural memory inSvenska bilder. Although Snoilsky considered himself a friend of Poland and an advocate forthe Polish independence movements, in his cycle he assigns Polishness the role of the negativeOther that serves to consolidate a positively characterised Swedish national identity. The articleconcludes with a short presentation of the four articles that are the fruits of the presented project.
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| 3. |
- Rosengren, Cecilia, 1962, et al.
(författare)
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Inledning: Den kontroversiella barocken
- 2020
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Ingår i: Lychnos: Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 85-94
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 4. |
- Zillén, Erik, et al.
(författare)
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Anthropologie und Ästhetik des Irrtums in Per Olov Enquists Legionärerna
- 2020
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Ingår i: Literarische Irrtümer : Figurationen des Irrtums in der skandinavischen Literatur - Figurationen des Irrtums in der skandinavischen Literatur. - 9783968216386 ; 26, s. 219-238
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Bokkapitel (refereegranskat)abstract
- Der Artikel geht der Rolle des Irrtums in Per Olov Enquists DokumentarromanLegionärerna (1968, Die Ausgelieferten) nach, der die Auslieferungvon baltischen Militärflüchtlingen an die Sowjetunion durch den schwedischenStaat im Jahr 1946 behandelt. In einem ersten Schritt wird aufgezeigt,inwiefern die Kategorie des Irrtums zentrale thematische und narrativeFunktionen in Enquists Romanarchitektur erfüllt. Fortwährend erliegensowohl die baltischen Flüchtlinge als auch die schwedischenEntscheidungsträger folgenschweren Irrtümern, ebenso aber auch der Untersucher, das Alter Ego des Schriftstellers, der sich vorgenommen hat, die Wahrheit über dieses kontroverse Ereignis in Schwedens Nachkriegspolitikzu ermitteln. In einem zweiten Schritt wird argumentiert, dass der Irrtumals Beschreibungsmodell für menschliches Handeln Ausdruck einerintellektualistischen Anthropologie ist, die ihre exemplarische Ausformungbereits in der antiken Tragödie erhalten hat, und die Enquist – bewusstoder unbewusst – in seinen Roman hat einfließen lassen.
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| 5. |
- Zillén, Erik
(författare)
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Death of a Genre? : The Aesopic Fable and the Emergence of Modernity
- 2021
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Ingår i: Reinardus. Yearbook of the International Reynard Society. - : John Benjamins Publishing Company. - 0925-4757. ; 33:1, s. 151-167
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Tidskriftsartikel (refereegranskat)abstract
- Taking as its starting point the scholarly discussion about the possible death of the Aesopic fable towards the end of the eighteenth century, this article proposes a broadening of perspective, arguing for a thorough examination of the impact of modernity on some of the basic contexts and conditions of the genre. Four contextual factors are, subsequently, placed under scrutiny: the ethics of virtue, the rhetorical category of exemplum, the anthropomorphization of animals, and the poetological principle of prodesse et delectare. All of these factors may be considered as vigorous and interrelated components of premodern culture, and all four of them, moreover, constituted fundamental prerequisites for the conceptualization and functioning of the Aesopic genre. By analysing how the emerging paradigm of modernity diminished the position and importance of these contextual factors, the article seeks to demonstrate the existence of an undeniable dividing line in European fable history somewhere around 1800.
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| 6. |
- Zillén, Erik
(författare)
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Den obarocka fabeln – eller den barocka? : Några turer kring en genre och ett litteraturhistoriskt begrepp
- 2020
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Ingår i: Lychnos. Årsbok för idé- och lärdomshistoria. - 0076-1648. ; 2020, s. 227-246
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Tidskriftsartikel (refereegranskat)abstract
- As a contribution to the discussion on the relevance of the baroque concept in Swedish literary history, the article conducts a case study by testing the concept on the history of a specific genre: the Aesopic fable. The argument takes its starting point in the analysis of German fable history by the pioneering baroque scholar Wolfgang Kayser who asserted a lack of German fable writing during the baroque era of the seventeenth century. Applying Kayser’s rather narrow criteria of fable writing and the baroque to Swedish conditions, and, subsequently, altering some of them, the article reaches three conclusions: firstly, fable writing was absent also during the baroque epoch in Sweden; secondly, a baroque period in Swedish fable history could be uncovered, somewhat questionably, during the late eighteenth century; and, thirdly, an extensive, pragmatically aiming fable literature was, in fact, in circulation in seventeenth-century Sweden, though it is doubtful whether it should be termed ‘baroque’. In a second move, the case study tries out three more recent definitions of the baroque. Apparent correspondences are shown between on the one hand fable literature of the Swedish seventeenth century, and on the other hand, José Antonio Maravall’s view of the baroque as a conservative culture, Thomas Althaus’s conception of epigrammatic thought during the baroque, and John D. Lyons’s idea of a baroque anthropology of duplicity. However, the article concludes, none of these correspondences—all of which indicate a high functionality of the fable in a seventeenth century context—have to be explained with reference to the concept of the baroque.
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| 7. |
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| 8. |
- Zillén, Erik
(författare)
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Fabelbruk i svensk tidigmodernitet : En genrehistorisk studie
- 2020
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Bok (refereegranskat)abstract
- Established as a genre in Greek antiquity, the Aesopic fable reached Scandinavia during the Middle Ages. In Sweden, the fable experienced its glory days during the early modern epoch (1500–1800). The monograph Fabelbruk i svensk tidigmodernitet. En genrehistorisk studie [Usage of Fable in Swedish Early Modernity. A Genre History] takes a comprehensive look at the history of fable in Sweden during these three centuries. In dialogue with recent international scholarship on fable and on genre, the study focuses on the usage of the fable genre. Early modern fable usage was lively, diversified, and changing. The monograph sketches a general historical trajectory from the multifunctional usage of fable within a Lutheran humanist culture, via a mainly French-influenced aesthetical as well as pragmatical reorientation of the usage of fable during the Enlightenment, to a crisis that hit the fable around 1800, caused by the paradigmatic shifts of modernity, wherein a new literary understanding led to the questioning of the very idea of literature usage. The monograph is organized into seven chapters. The first chapter (“Fabeln – en genre tagen i bruk” [The Fable – A Genre Made Use Of]) introduces the usage perspective of the study, including the central and newly coined concept of the usage arena. With reference to the macro-historical concept of early modernity, the chapter establishes and justifies the chronological bounds of the study. Moreover, it discusses how the object of investigation should be narrowed down, problematizes the issue of genre definition, and argues in favour of a methodology based on an open Aesopic genre field and on three principles that have historically governed the usage of fable: a chrestomathy principle, a vehicle principle, and an analogy principle. The chapter finishes off with a short outline of the extensive European research on fable and a more complete account of the highly limited Swedish research on the genre. The following three chapters are devoted to what the study identifies as the three most essential usage arenas of the fable in early modern Sweden. The second chapter (“Fabelns språkdidaktiska bruksarena” [Fable’s Language-Didactic Usage Arena]) deals with the fable as textual material in language instruction in schools. This usage function was governed by a chrestomathy principle: fable texts were made use of in order to teach the vocabulary and grammar of a foreign language. After a background sketch of the fable’s long European history as a language-didactic genre, the chapter examines the prescriptions for reading fables in Latin and Greek included in the official Swedish school regulations. In a subsequent step, all fable editions for school use printed in early modern Sweden are surveyed. What is striking in the Latin teaching material is the dominant line emanating from Joachim Camerarius’s Leipzig edition Fabellae Aesopicae Qvaedam Notiores, Et In Scolis Vsitatae (1545), only supplemented by a Phaedrus line in the late seventeenth century. The Greek fable material gives a more fragmented picture, even though the most important eighteenth-century editions are clearly indebted to Johann Gottfried Hauptmann’s ΜΥΘΩΝ ΑΙΣΩΠΕΙΩΝ ΣΥΝΑΓΩΓΗ. Fabularum Æsopicarum Collectio (1741). The sparser quantity of Aesopic text material printed in eighteenth-century Sweden for language education in French, German, and English indicates that learning methods were transferred from classical to modern languages. With the backing of tangible examples – some notes from a teacher, a pupil’s exercise book, and a textbook for self-instruction – the chapter illustrates how fable texts were used in language-didactic practice. A closing discussion about the consequences of the language-didactic usage for the history of the genre stresses that the fable as statutory text material in the school teaching of classical languages managed to acquire a cultural centrality in early modern Sweden and that, thanks to the education system’s concentration on national uniformity, it was disseminated all over the country. In accordance with the basic didactic method of early modern schools, the fable, furthermore, was made an object for large-scale memorization at the same time as it was ascribed a considerable degree of transformability due to the constant language exercises it underwent. The third chapter (“Fabelns moralpedagogiska bruksarena” [Fable’s Moral-Pedagogical Usage Arena]) deals with the fable as an instrument for moral edification in the vernacular. This usage function, which required that Aesopic texts were transferred into Swedish, was based on a vehicle principle: the fables were made into carriers of ethical decrees. The chapter analyses the four most significant fable collections printed in Swedish during the early modern era. The earliest Swedish-language collection, Hundrade Esopi Fabler (1603), is a faithful translation of the Rostock edition Hundert Fabeln aus Esopo (1574) by Nathan Chytraeus. It conveys classical virtue ethical lessons. In addition, it has a pronounced Lutheran profile and honours a just God, a hierarchically ordered society, and a patriarchal family structure, factors in tune with Sweden’s recently adopted Protestant state religion, making the collection an efficient tool for confessional and social disciplining. The first fable collection rendered into Swedish directly from a classical language, Phædri Fabler, J Swenske Rijm (1736), is an almost complete translation, in verse, of the five books by Phaedrus. A new prose comment has been added to each fable, applying the Aesopic text in a way typical of the age and consistently exalting “en förnufftig menniska” [a rational human being] to a moral ideal. With its nearly 500 fables, Allehanda Sedolärande Fabler (1767), the period’s most voluminous collection in Swedish, is characterized by moralpedagogical heterogeneity as well as narrative redundancy. The edition can be described as a selective Swedish version of Roger L’Estrange’s Fables, of Æsop And other Eminent Mythologists: With Morals and Reflexions (1692), which has been distinctly Lutheranized by means of cutting out the original’s Catholic reflections and replacing the English preface with Martin Luther’s fable foreword of 1530. The fourth collection to be scrutinized is an illustrated fable journal in two volumes: Gull-Hönan (1773) and Herre-Gårds Tuppen (1774). In most cases, the short Aesopic narrations presented in Swedish have been drawn from Latin fable books for school use, whereas the detailed epimyths are new and commissioned as propaganda for the editor’s particular interests in realist politics, an arrangement that gives the collection a remarkably divided address. Summarizing the consequences of the moral-pedagogical usage of fable for the history of the genre, the chapter points out that the strong emphasis on the semantic double structure of Aesopic texts – it was maintained that every story concealed an important message – forced readers to decode the underlying meaning of each fable. Moreover, it is concluded that the epimyths in the vernacular collections normally reinforce the virtue ethical construct of the narrations at the same time as the vehicle principle is allowed to operate with great liberty, turning the fables into carriers of widely differing views and ideologies. The fourth chapter (“Fabelns exemplumretoriska bruksarena” [Fable’s Exemplum-Rhetorical Usage Arena]) deals with the fable as rhetorically warranted exemplifying narration in other texts. This usage function was regulated by an analogy principle, establishing a parallel between the subject of the host text and the quoted fable. To start with, the chapter goes through, firstly, the approach of classical rhetoric to the category of exemplum and to the fable as exemplum genre and, secondly, the prevailing mode of thinking by means of exemplum in early modern Europe. After that, precise analyses of 15 exemplum finds from Swedish early modernity are accounted for in chronological order. These exempla have been selected with the purpose of illustrating how 15 different fable types are made the subject of exemplum-rhetorical usage. Contributing to the breadth of the account are, likewise, circumstances such as the finds originating from host texts that both belong to widely varying genres and cover more or less the entire period of investigation. As a following step, the chapter puts forward analyses of ten finds demonstrating, instead, how one and the same fable type – the fable about the bird with borrowed feathers (ATU 244) – is made use of as a rhetorical exemplum in various ways in ten different host texts. A summing-up of the consequences for the history of the genre calls attention to the fact that the extensive exemplum-rhetorical usage loaded the fable with an ability to penetrate into different cultural contexts, as well as to narratively adjust to various textual environments. In relation to the discourse of its host text, the Aesopic narration often generated a contrasting effect at the same time as the continual reutilization of the same fable types within the exemplum usage as a whole affirmed norms and ascribed a certain constancy to human realities. The fifth chapter (“Fabelbrukaren Aisopos och genretraditionen” [Aesop as Fable User and the Genre Tradition]) links the three usage arenas to a joint generic tradition. The character of Aesop stands at the centre of the analysis. The chapter opens with a section both examining Phaedrus’s narrative of origin about his precursor Aesop, which was foundational for the fable tradition, and tracing the dissemination of this narrative in Swedish early modernity. It is followed by an investigation of the image of the genre’s founding father given in the ancient biography Βίος Αἰσώπου; a particular focus here
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| 9. |
- Zillén, Erik
(författare)
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Fabelns väg till barnlitteraturen : Från Camerarius till Hey
- 2022
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Ingår i: Barnboken. Tidskrift för barnlitteraturforskning. - 2000-4389. ; 45, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- With the emergence of children’s literature in the modern sense in the eighteenth century, new genres of literature especially intended for young readers came into being. In addition, several well established genres, one of which was the Aesopic fable, were adapted and redirected to augment the growing children’s library. Focussing partly on a Scandinavian context, this article outlines fable’s evolution from a genre used in the teaching of classical languages in schools to a literary kind deliberately designed for young readers in their mother tongue. Specifically, it identifies Jean de La Fontaine’s and Antoine Houdart de La Motte’s making of a poetically advanced fable aimed at a readership of adults as a major impetus for the transition; the targeting of a particular age group was thus far unknown in the history of the genre, and it inspired educatively engaged authors to adopt the countermove of constructing a fable specifically addressed to children. The process of generic transformation was accompanied by debates on fable’s suitability as children’s literature, in which arguments put forward in Émile, ou de l’Éducation (1762) played an important role. Somewhat paradoxically, though, Jean-Jacques Rousseau’s critical opinion of the genre stimulated the invention of a fable distinctly formulated for young readers, reaching one of its high points in Johann Wilhelm Hey’s Fünfzig Fabeln für Kinder (1833).
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| 10. |
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