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- Ahlund, Claes
(författare)
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Stig Dagerman som lyriker i "Birgitta svit"
- 1996
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Ingår i: Samlaren: tidskrift. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 1996, s. 28-50
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Tidskriftsartikel (refereegranskat)
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- Ahlund, Claes
(författare)
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En mental militarisering : Den svenska litteraturen före och under första världskriget
- 2003
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 124, s. 134-157
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Tidskriftsartikel (refereegranskat)abstract
- Claes Ahlund, A Militarization of the Mind: Swedish Literature and the First World War The essay suggests that the literature of the First World War does not begin with the actual outbreak of the war in 1914, but much earlier. Anticipation of the coming war is a recurrent theme in Swedish literature during the preceding decades; attitudes varying from nationalist enthusiasm to pacifist and anti-militarist abhorrence. On both sides, however, ambivalence and contradiction are characteristic features. Among the authors discussed in this context are Nils Gottfrid Björck ("Sigvald Götsson", 1896–1891), Verner von Heidenstam (1859–1940), Iwan Aminoff (1868–1928) and Frida Stéenhoff (1865–1945).Anticipation of a coming war occur in poetry as well as in drama and what can be termed the invasion story, a genre increasingly popular in the decades between the Franco-Prussian War in 1870–1871 and the outbreak of the Great War in 1914. The invasion story typically tells of a successful future invasion by a hostile nation that proves armaments and military training to have been totally insufficient. Particularly important in setting the standard for the invasion story was the Battle of Dorking (1871), written by Sir George Tomkyns Chesney. In the following decades invasion stories were written in–and translated into–many languages in Western Europe. The Swedish contributions include Hur vi förlorade Norrland ("How Norrland was lost", 1889), Hvarför vi förlorade slaget vid Upsala ("Why we lost the battle of Upsala", 1890), Med vapen i hand. Romantiserad skildring af vårt kommande krig ("At arms: a romantic story of our coming war", 1901–1902), and two invasion stories written by the same author, Iwan Aminoff: När krigsguden talar ("When the War-God speaks", 1912), and Invasionen ("The Invasion", 1912).The literature of the decades preceding 1914 shows that the vision of a coming war was gradually becoming more substantial. The premonitions of war can be described as a dark undercurrent in a period otherwise characterized by technological and scientific progress as well as an optimistic view of the development of civilization. It is an undercurrent related either to nationalistic/quasi-religious and social darwinist conceptions of war as a positive factor in the history of civilization, or to pessimistic ideas of decadence and degeneration. In the war-literature before the war, there are pacifist novels as well as romantic and heroic stories; anti-militarist poetry as well as versified nationalist propaganda, urging the readers (and the authorities) to prepare for glorious and heroic war.The second section of the essay deals with reactions to the war in nationalist magazines and children's literature in Sweden during the autumn of 1914. Far from giving an accurate picture of the realities of war, the journalists describe it as an adventure full of heroic opportunities. Neutral Sweden being excluded from direct participation in the warfare, many writers use history as a means to raise nationalist sentiment. Supposedly heroic deeds of the Swedish 17th and 18th century are typically set up as inspiring examples.In the third and final section of the essay, the attitudes to the war in poetry published in right-wing, liberal, and socialist daily papers are discussed. The martial enthusiasm, predominant among conservative writers and right-wing papers in the early months of the war, in many cases is gradually replaced by a weariness of war. In the poetry published in the conservative Nya Dagligt Allehanda, however, the romantic attitude to war is maintained to the bitter end. Due to the civil war in Finland, heroic and romantic contributions even increase during 1918. The liberal daily Dagens Nyheter, on the other hand, at all times keeps a reserved and critical position. The radical socialist Brand has the critical attitude towards war in common with the liberal daily. The poetry published in Brand differs from that of Dagens Nyheter above all in focusing not only on the senseless suffering and the immense costs of war, but also on the question of responsibility; targeting capitalists, the monarchy and the clergy alternately.
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- Ahlund, Claes
(författare)
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Krig och kultur i konservativ och radikal belysning : Annie Åkerhielm och Frida Stéenhoff från sekelskiftet till första världskriget
- 2005
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 126, s. 97-150
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Tidskriftsartikel (refereegranskat)abstract
- Claes Ahlund, Krig och kultur i konservativ och radikal belysning. Annie Åkerhielm och Frida Stéenhoff från sekelskiftet till första världskriget. (War and Culture in a Conservative and a Radical Light: Annie Åkerhielm and Frida Stéenhoff from the Turn of the Century to the First World War.) The purpose of the essay is to discuss the conceptions of war and of contemporary society and culture put forward in the writings of two diametrical political opposites: the conservative Annie Åkerhielm (1869–1958) and the radical feminist Frida Stéenhoff (1865–1945). Åkerhielm and Stéenhoff both engaged in the debate on war and culture by publishing a number of pamphlets and polemic articles, but they were also writers of fiction. Åkerhielm published novels, short stories and poetry; Stéenhoff, a number of plays, but also some novels. Annie Åkerhielm and Frida Stéenhoff represent different political parties: Åkerhielm, the conservative and pro-German nationalists; Steenhoff, the radical liberal pacifists. Åkerhielm advocates the value of war and stresses the individual’s duty to subordinate himself to the state, opinions closely related to those of anti-democratic and anti-liberal thinkers such as Rudolf Kjellén and Werner Sombart and propagated as "The Ideas of 1914". Stéenhoff, on the other hand, upholds a radical interpretation of the tradition of the Enlightenment, emphasizing the rights and liberty of the individual, including women, and embracing an optimistic theory of evolution. This makes her a pronounced representative of the antagonistic tradition, "The Ideas of 1789", identified by Kjellén as a major threat to the well-being of the nation. The outbreak of the war, being a major setback for international cooperation and the peace movement, temporarily caused Frida Stéenhoff to mistrust her own faith in progress and the final triumph of her ideals of love, peace, and liberty. At the end of the war, Annie Åkerhielm suffered a similar dejection caused by the collapse of Germany and the ideals and the culture it represented. Stéenhoff’s reactions are discussed with the novel Ljusa bragder och mörka dåd (1915) ("Bright feats and dark deeds"), the pamphlet "Krigets herrar – världens herrar! (1915) ("The lords of war — the lords of the world"), and the essay "Den nya moralen och Ellen Key som dess tolkare" (1919, "The new morality and Ellen Key as its interpreter") as a point of departure. The discussion of Åkerhielm’s reactions to the war centres on the poem "Emden" (1914), the collection of short stories, Sagor och fantasier (1915, "Tales and fantasies"), the pamphlet Antidemokratiska stämningsstunder (1917, "In the anti-democratic mood"), and the novel Anno Domini (1921).
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- Andræ, Marika
(författare)
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Pappas flicka? : Fäder och döttrar i ungdomslitteratur från 2000-talet
- 2006
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 127, s. 395-441
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Tidskriftsartikel (refereegranskat)abstract
- Marika Andræ, Pappas flicka? Fäder och döttrar i ungdomslitteratur från 2000-talet. (Daddy’s Girl? Fathers and Daughters in Young Adult Literature from the 21st Century.)How are relations between fathers and their teenage daughters depicted in early twentiethcentury young adult literature? The new research area of fatherhood, sociology of families and research concerning ethnic conflicts within the family is used as a background to the textual analysis of six novels where fathers and daughters are figured. Some modern manuals, directed separate to fathers and daughters, are used to reflect the ideal image of the relation between a father and a teenage daughter. The central notions in these advisory books are: to be a model, responsibility, communication, honesty, respect, confirmation and intimacy. These notions are used in the analysis. The fathers pictured in the novels are mostly ambivalent in their position as an adult and oftenly hand over the responsibility for the relationship to the daughters. The stories about ethnic conflicts picture fathers with strict authority. To handle this, the daughters either have to adjust to the existing power paradigm by guarding their behaviour, or use several strategies to avoid conflicts, or break up from their families. But the girls wish, nonetheless, for exactly the same relationship to their fathers as the daughters in the other novels. The girls want physical and mental intimacy, they want to be acknowledged as individuals and they long for a steady father figure who shares his daugther’s concerns. But they all seem to excuse the fathers for their inability to fulfill this. Instead they turn to a new relationship with a friend or a boyfriend. When the fathers do show some stumbling effort to develop a new kind of contact, the daughters willingly welcome the attempt with a great deal of benevolence. A comparison is also made with Vivi Edström’s study of the father and daughter theme in Swedish young adult novels from the 1970’s and 1980’s. There are resemblances between the older and the younger literature with regard to gender patterns: the daughter is described as a mature care-taker and the father as a little child.
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| 26. |
- Anthin, David
(författare)
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Bohuslän som litterär mötesplats : Det fysiska landskapets omvandling till ett litterärt i Evert Taubes "Inbjudan till Bohuslän"
- 2000
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 121, s. 114-136
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Tidskriftsartikel (refereegranskat)abstract
- David Anthin, Bohuslän as a Literary Meeting Place: The Transformation of a Physical Landscape into a Literary One in Evert Taube's "Inbjudan till Bohuslän".The essay discusses Evert Taube's poem "Inbjudan till Bohuslän" ("Invitation to Bohuslän") from the collection Ballader i Bohuslän (Ballads from Bohuslän) of 1943. My purpose is to place the poem in a specific tradition by way of a thematic analysis, while biographical aspects are also considered where relevant. "Inbjudan till Bohuslän" is read as a metapoetical treatise, in which a dialogue with broad poetic traditions is established. Taube proposes to give the province of Bohuslän on the Swedish west coast a new literary guise. Male Viking-heroism gives way to a feminine and maternal ideal. At the same time a childhood landscape is newly presented to Rönnerdahl as poet, according to the literary ideals he—as the invited guest—himself harbours and champions.First and foremost, I argue that the poem's dialogue is characterized by an affnity with literary traditions. Further, Taube's own, biographically verifiable experiences are shown to underlie the text, although they have successively been toned down or symbolically reshaped during the many drafts of the poem.Taube stresses the idyllic aspects of Bohuslän. He showcases a cultivated and sheltered landscape in a way similar to the previous, 1890s generation of Swedish authors: Selma Lagerlöf, Verner von Heidenstam, and Erik Axel Karlfeldt. Thus Taube also turns his back on a dominant aesthetic of the Swedish 1880s, with its emphasis on a harsh and deterministic coastal environment. At length this Taubian critique of the 1880s transforms into a criticism also of Modernism.Taube further conducts a dialogue with the pastoral poetry of antiquity. The essay proposes that the poet is influenced by a pastoral mode in "Inbjudan till Bohuslän". Paul Alpers' research into the nature of pastoral provides the prime structure for this section. Alpers reasons that the pastoral speaker lacks the strength to control the conditions of his or her world, and only governs in the realm of song. The pastoral process (as originally identified by William Empson) also reflects a movement from the complex to the simple, and Alpers shows how this works in Wordsworth's poem "The Solitary Reaper" (1807). Here the Romantic poet hears a rustic girl's working ditty and wishes to experience a pastoral transformation. In "Inbjudan till Bohuslän" the poet's urge to Rönnerdahl is much the same, as Wordsworth's singing girl has a sister also in the landscape of Bohuslän. Her name is Karin Johansson, and she is meant to give voice to Rönnerdahl's ballads."Inbjudan till Bohuslän" also recalls Horace and his prizing of seclusion. A study of several drafts of the poem (in the Evert Taube archives, Gothenburg University Library) shows that this classic influence is successively muted. On a deeper thematic and modal level, however, a proximity to Horace remains striking.With Mikhail Bakhtin one may further conclude that an idyllic chronotope pervades Taube's poem. A cyclic chronology is hailed in the landscape of peaceful dales among rocky hills and cliffs. By the same token there is no evidence of a sentimental yearning for a lost landscape—the one evoked is constantly at hand, and also available for the future. The idyll in "Inbjudan till Bohuslän" can therefore be described as progressive.The poem has a darker streak in a theme of mortality. The poet, however, finds solace in a dialogue with Shakespeare and Horace, who give promises of eternal life for poetry: Ars longa, vita brevis.
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- Aronsson, Mattias
(författare)
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Vilhelm Ekelund och den fransk-italienska kultursfären : Några nedslag i de tidiga prosaverken – från Antikt ideal (1909) till Attiskt i fågelperspektiv (1919)
- 2009
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 130, s. 85-101
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Tidskriftsartikel (refereegranskat)abstract
- The Swedish poet, essayist and aphorist Vilhelm Ekelund was not only influenced by German literature and philosophy, he also wrote extensive literary criticism on the subject of Romance language authors. This article discusses Ekelund’s relationship to some of the most influential French and Italian writers — as it can be seen in his work during the period 1909–1919. This relationship was ambiguous: he paid homage to French authors such as Montaigne, Montesquieu, Stendhal and Comte — as well as to the Italian poet and philosopher Leopardi – but he also severely criticized such distinguished writers as Baudelaire, Rousseau and Maupassant. One conclusion of this article is that the authors praised by Ekelund all venerate the Greek and Roman cultural heritage, whereas the despised novelists and poets were, in his opinion, either too “modern” or too “feminine” — both highly pejorative adjectives in the author’s terminology. It is also noted that Ekelund’s most ferocious attacks date from the first part of the decade, before he entered a more harmonic period with the works Metron (1918) and Attiskt i fågelperspektiv (1919).
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- Bergmann, Sven Arne
(författare)
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"Den gamla goda tiden" – en dikt om tystnad
- 2000
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Ingår i: Samlaren. - Uppsala : Svenska Litteratursällskapet. - 0348-6133 .- 2002-3871. ; 121, s. 96-113
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Tidskriftsartikel (refereegranskat)abstract
- Sven Arne Bergmann, "The Good Old Days": a poem about silence.Fröding's "Den gamla goda tiden" (The Good Old Days) has long attracted critical attention as the most successful of his "political poems". Presented as an 18th-century story of a foundry proprietor's brutality towards his workers, it was hesitatingly received in 1894 as a subversive statement by a member of the ruling class. Later adopted as a Socialist classic, Dggt survives today mainly on the merits of its poetical craftsmanship.In this paper, the author argues that the relevance of Dggt is less dependent on a sense of Socialist commitment than has been commonly accepted. If its theme is understood less in terms of collective solidarity than of individual conscience, an intrinsic structural polarity emerges revealing an ironic strategy of unsuspected subtlety. To make his reading persuasive the author enlists the support of critics and theorists like Burke, Lotman, and Riffaterre. By way of preparation, some formative principles are considered: allegory vs. realism, metaphor vs. metonymy. On the assumption that Fröding tends towards realism and metonymy in this poem, his use of nostalgic presuppositions and romantic metaphors acquires special interest as poetic strategies of irony.Starting from a close study in Lotman's terms of how contrasting rhythms and onomatopoeia create a metonymic basis for imaginative participation in the drudgery of cruelly exploited foundry workers, the author goes on to an examination of the poem as "symbolic action" (Burke). This leads to the conclusion that the "scene" remains empty, since there is no "agent" present to accept responsibility. A Riffaterrian search for the poem's matrix is started from a "model" extracted from the introductory imagery of the silent, starry sky and the sleeping forest in the background. By way of a deconstruction of the alleged "silence" of the ill-treated workers, the search arrives at indifference as the key concept of the poem.The title, long recognised as an ironic statement of nostalgia, was added as an afterthought. Yet, on closer inspection, both the initial and the final stanzas can be shown to contain ironic elements in the form of concealed references and an anonymous quotation voicing the views of a society totally lacking in compassion. By this means, the poet, far from openly distancing himself from his forefathers or his contemporaries in the manner of the political battle song, challenges the reader to enter the vacant position of "agent" in the "symbolic action" of the poem.
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