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- Miočević, Ljubica, 1977-
(author)
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Tre romantiska spaderdamer
- 2011
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In: IASS 2010 Proceedings. - 9789174738391
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Conference paper (other academic/artistic)
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| 3. |
- Van Meerbergen, Sara, 1981-
(author)
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Dutch Picture Books in Swedish Translation : Towards a model for multimodal analysis
- 2009
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In: Translation and the (Trans)formation of Identities.. - Leuven : CETRA.
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Conference paper (other academic/artistic)abstract
- This paper considers the translation of picture books. It explores how multimodal analysis as proposed by Kress & Van Leeuwen (2006) can be integrated into a descriptive model for translation analysis as proposed by Toury (1995). As picture book texts combine both visual and verbal means of expression, a study of the two semiotic modes must be included in a translation analysis of these texts. Because translated picture books are printed in coproduction, visual text components of the source text are combined with new verbal components in the target text. It has been argued that the co-printing of picture books leads to an amalgamate market avoiding culture-specific elements in the images. This view however only takes into consideration the physical appearance of the images and thus ignores the semiotic content that these images get when placed within the context of a text. By using a multimodal analysis as part of a translation analysis not only the changing semiotic interplay between the verbal and the visual can be studied, it also allows the study of how the semiotic content of images changes when placed into a new textual and socio-cultural context.
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- Alfredsson, Johan, 1974
(author)
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Bengt Emil Johnson’s Bland orrar och kor and the Legacy of 1960’s Sound Technology : Bengt Emil Johnson - after Concretism
- 2005
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In: "Avant-Garde and Technology", 2005-11-25, Stockholm.
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Conference paper (other academic/artistic)abstract
- Bengt Emil Johnson was one of the most prominent poets of the short-lived yet highly vivid Swedish concretist movement of the early 1960’s. As for most poets involved in this movement, his carreer soon turned to other manners of writing, in his case more successfully than for many of his fellow concretists. During the second half of the 1960’s he was involved in creating the interartial genre of text-sound-composition, and ever since then he has been an internationally acclaimed composer of electro-acoustic music. Since the 1970’s he has also been recognised as an important innovator in the field of nature-poetry, displaying an attitude as keen and attentive towards the abundance of language as it is towards that of nature. Through this sensitivity he has been able to examine and unfold intriguing correspondences between language and nature. Apart from being a poet during the first half of the 1960’s, Johnson was also a writer of manifestos and essays concerning aesthetic matters. He quite frequently appeared in the press as well as in several of the important Swedish periodicals of the time. Quite a few of the aesthetical texts he wrote during this period were concerned with the artistic potential that was to be found in new technology, especially sound-technology. Particularly interesting are a number of texts which he wrote in collaboration with Lars-Gunnar Bodin. Johnson and Bodin were not, however, the only Swedish artists writing manifestos and essays from these perspectives during those years. Someone else who did was Öyvind Fahlström, the patriarch of the Swedish concretist movement. In my paper I trace a rhetoric in a number of aesthetic essays and manifestos by all these writers published between the years 1954-1965, a rhetoric which in several ways has its aim fixed on connecting technological and scientific breakthrough to artistic breakthrough. In this way I try to point out the fact that a number of the ideals behind the radical avant-garde writing strategies used by Johnson and his compatriots during his concretist years had a technological origin. I also go on to show to what extent these strategies linger in Johnson’s later writing, what part they play, and in what ways they appear. The examples I use from his later writing consist of three, among themselves quite different, poems from his 1989 poetry collection Bland orrar och kor (Amongst Black Grouse and Cows). I aim to show that Johnson, in these poems, still uses techniques appropriated from, and inspired by, mid-century sound-technological landmarks such as the contact-microphone, multiple layer recording, cut-up- and pitching techniques. And all of these technologies and techniques were discussed in the aesthetic writings of Johnson, Bodin, and Fahlström, respectively, during the 1950’s and 1960’s. And all of them were mentioned as holding great artistic potential.
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| 7. |
- Ingvarsson, Jonas, 1966, et al.
(author)
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The New Order of Criticism. Explorations of Book Reviews Between the Interpretative and Algorithmic
- 2022
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In: CEUR Workshop Proceedings. - Aachen : CEUR-WS. ; , s. 228-234
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Conference paper (peer-reviewed)abstract
- The New Order of Criticism (2020-2024) is a mixed-methods project combining algorithmic and interpretative approaches to the study of literary criticism. The project expands on a prior study of Swedish book reviews from the years 1906, 1956 and 2006 ('The Order of Criticism', Samuelsson 2013), re-examining and re-evaluating the original results through the use of computational tools, language technology and big data. The aim of the present paper is to discuss early experiences and results from the interdisciplinary approach utilized by the current project, a collaborative process where interpreter and programmer are in dialogue, and where methodologies, and their instantiation in tools, are reflexively discussed from an epistemological point of view. In our analysis we ask: How can insights from working with digital methodologies and tools inform traditional scholarship on literary criticism? How can interpretative approaches and results inform digital methods?.
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| 9. |
- Packalén, Malgorzata Anna, 1952-
(author)
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Nieobecna obecność: kobieca mimikra literackiej konwencji na przykładzie wybranych utworów Nataszy Goerke i Olgi Tokarczuk
- 2009
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In: Swedish Contributions to the Fourteenth International Congress of Slavists (Ohrid, 10-16 September 2008). - Umeå : Print&Media. - 9789172648142 ; , s. 81-91
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Conference paper (peer-reviewed)abstract
- The culture of the nobility, with their strong influence in forming Poland’s very special mentality, established the Polish view of the woman and her role in society. What is particularly characteristic of women’s position in Poland still today is the notion of the inherent nature of femininity and the idea that a woman’s purpose is first and foremost to be a mother. The Polish woman symbol has another specific dimension, the strongly emotional image of “The Polish Mother” (Matka-Polka), who – like the Virgin Mary – unselfishly sacrifices her own child not just for the common good but, in Poland’s case, for the fatherland that has endured centuries of suffering. This determines the Polish view of women in general and the Polish woman’s self-image: she knows that she is expected to fulfil the traditional feminine scenario. It is this very old tradition that makes the “feministic” problem, in all its different senses, still a very controversial issue in Polish cultural and literary contexts. Herein lies a powerful reason for the restrictive, reserved way that “femininistic” themes have been and still are treated in Polish literature, which is heard clearly in discussions of the works by young Polish female writers. Several of these works published in the beginning of the 1990s made an attempt to re-evaluate the traditional image of women in Polish literature. Portrayals of women by Izabela Filipiak, Manuela Gretkowska, Natasza Goerke and Olga Tokarczuk especially deviate from the traditional figures in earlier Polish literature. In their view of the world and in their narrative strategies, these writers have more or less unconsciously distanced themselves from tradition and created their own means of approaching “woman” and “femininity”. A distinguishing feature here is that their strategies are all characterised by a kind of narrative and linguistic mimicry. Borrowing Luce Irigaray’s term, one might be tempted to claim that they represent the “female mimicry of male discourse” and thus through this kind of mimetism (or its parody) disrupt patriarchal logic. As Irigaray argues, “To play with mimesis is thus, for a woman, to try to recover the place of her exploitation by discourse, without allowing herself to be simply reduced to it.” The focus in this discussion is on the works of Natasza Goerke and Olga Tokarczuk. They belong to the same generation of writers, and both take a stand against the new feministic trends in Polish literature, although their ways of using and treating the “feminine” aspect are very different. Their female characters have one thing in common: they live in a society run by men. Aware of this unjust division and treatment, these authors bring up, convey and defend the nature and rights of femininity in their writing – albeit in different ways. In a similar way, Goerke and Tokarczuk realise that the only way to get at and decode the deeply rooted and obsolete ideals and notions about the differences between the sexes is to attack their reflection in the cultural stereotypes and national myths, where foremost Mother Poland and motherhood have their given places. When Goerke and Tokarczuk take the somewhat Promethian role of speaking in the name of women and femininity, they see all these banal patterns as their greatest opponents. At the same time, however, they use protective masks and manoeuvers to be able to put a distance between themselves and the reality they describe. Their “feminine mimicry” is however expressed – as I try to argue – in a completely different way. Goerke takes on the male perspective in her narrative worlds. This mimicry that Goerke uses to keep at arm’s length from these ideas allow her to go over the boundaries of the feminine, staked out by culture and tradition, and make the cultural absurdities of Poland come out even more clearly and sharply. Tokarczuk’s writing is somewhat different. Her approach to patriarchal stereotypes and male values is more of the “non-aggressive” type, almost quiet. This does not mean that Tokarczuk does not take up the fight against these stereotypes and patterns that devalue women, but she does this in quite another way. Her mimicry is made up of a conscious mythologising and even a re-sacralisation of the female sphere she describes. Goerke’s and Tokarczuk’s books deal not only with a position of resistence toward patriarchal stereotypes and male values in Polish literature. Their works also put forth a female perspective in the literature under consideration – it is “women’s femininity” that is discussed and uncovered in all its vulnerability. The works of these authors were created under the influence of the past decade’s feminist debates in Poland and in opposition to the strong patricharchal tradition. Goerke’s and Tokarczuk’s literary strategies and protective narrative manoeuvers thus give us a salient example of how difficult is the woman’s path, from a position of subordination dictated by tradition, to freedom; especially in a country that is so strongly formed by the burden of its history.
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| 10. |
- Romeborn, Andreas, 1981
(author)
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Stilfiguren "syllepsis" i en fransk poesikorpus
- 2014
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In: Bidrag presenterat vid Forum för textforskning 9, 12-13 juni 2014, Göteborgs universitet. 13/6 2014..
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Conference paper (other academic/artistic)abstract
- I min avhandling (Romeborn 2013) genomförde jag en stilistisk och retorisk studie av stilfiguren ”syllepsis” (syllepse på franska) och av hur denna används hos den franska poeten Francis Ponge (1899-1988) (på 70-talet gavs ett antal av Ponges dikter ut i svensk tolkning av Jesper Svenbro). Syllepsis är en vedertagen term inom franskspråkig stilistik och retorik (se t.ex. Aquien & Molinié 1999 el. Ricalens-Pourchot 2011) och mer generellt inom såväl fransk lingvistik (se t.ex. Bonhomme 2005) som litteraturvetenskap (se t.ex. Jarrety 2001). En s.k. syllepsis är en typ av ambiguitet. Det rör sig om en syllepsis då ett ord förekommer endast en gång (dvs. det är en ordförekomst) men ordet ändå används i två betydelser på samma gång. Om figuren används i humoristiskt syfte, blir det ett slags ordlek eller ordvits. Inom ramen för avhandlingen utarbetade jag en metod för att identifiera den här stilfiguren i texter. I mitt bidrag skulle jag vilja presentera denna metod samt även, i mån av tid, några av de resultat jag kom fram till. Min studie kan ses som ett exempel på språkvetenskaplig analys av litterära texter och på det viset passar presentationen väl in i workshopen om litterär stilistik.
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