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- Bruhn, Jørgen
(författare)
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”’Seeing without Understanding’ : Mediality aspects of Literature and Memory in Vladimir Nabokov’s ”Spring in Fialta”
- 2015
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Ingår i: Orbis Litterarum. - : Wiley. - 0105-7510 .- 1600-0730. ; 70:5, s. 380-404
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Tidskriftsartikel (refereegranskat)abstract
- Taking as my starting point the intermedial idea that all literary texts exhibit some kind of medial mixture, the article argues that Vladimir Nabokov's formally exquisite and existentially moving short story Spring in Fialta (which I analyze in Nabokov's own English translation from Russian) is best understood when it is considered a mixed mediality text. I hope to demonstrate the general idea that when a conventionally literary text is being read as a medially mixed text the role of media turns out to be crucial for the understanding of the entire text. More specifically, I shall argue that the schism between artistic representation and life in itself, condensed into the problem of how to represent and recall memory traces, is a major theme in Spring in Fialta.
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- Cananau, Iulian, Dr. 1975-
(författare)
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On the Path to Citizenship : A Conceptual Historicist Reading of Antebellum Women's Protest Literature
- 2020
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Ingår i: Orbis Litterarum. - : Blackwell Publishing. - 0105-7510 .- 1600-0730. ; 75:1, s. 1-14
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Tidskriftsartikel (refereegranskat)abstract
- This essay introduces a new approach to the history of pro‐ test literature, and to literary history writing in general. My case studies investigate three antebellum American works by women that express discontent with women’s condition: the “Declaration of Sentiments” of the Seneca Falls Convention (1848), Margaret Fuller’s Woman in the Nineteenth Century (1845), and Harriet Jacobs’s Incidents in the Life of a Slave Girl (published in 1861, but written probably between 1852 and 1857). Drawing on Reinhart Koselleck’s theory and practice of conceptual history, the essay includes an analysis of the semantic field of citizenship in these works with an aim to explore the textual politics of their protest within the con‐ ceptual and ideological context of antebellum America.
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| 4. |
- Cananau, Iulian, Dr. 1975-
(författare)
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“Partialist” and “universalist” : American exceptionalism in antebellum writing on national identity
- 2024
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Ingår i: Orbis Litterarum. - : Wiley. - 0105-7510 .- 1600-0730.
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Tidskriftsartikel (refereegranskat)abstract
- In this article, I analyze six well-known antebellum essays on US national identity from the perspective of their engagement with the contemporary exceptionalist discourse. My focus is on their representations of the particular and the universal, whose paradoxical relationship lies at the core of all national exceptionalisms. I approach antebellum exceptionalism as part of the history in which the authors of these texts (Emerson, Fuller, Simms, Douglass, and Delany) lived their lives and to which they responded in different ways. The analysis shows how the universal–particular duality at the core of US exceptionalism is conceived and operates in these essays' discourses of American identity. A tentative conclusion is that whenever the universal dimension of American exceptionalism is enlarged or challenged by other universal criteria, the nationalist ideology loosens its grip; conversely, its presence is stronger when particularization occurs. Furthermore, the representations of the universal and the particular in these texts are discussed in relationship with certain aspects of US exceptionalism as a cultural phenomenon of antebellum history, namely, Manifest Destiny, cultural nationalism, the concept of civilization, and the growing tensions of slavery and racial discrimination in the free states.
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- Elleström, Lars, 1960-
(författare)
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Visual Iconicity in Poetry : Replacing the Notion of “Visual Poetry”
- 2016
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Ingår i: Orbis Litterarum. - : John Wiley & Sons. - 0105-7510 .- 1600-0730. ; 71:6, s. 437-472
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Tidskriftsartikel (refereegranskat)abstract
- This article argues for the advantage of applying the analyticalperspective of “visual iconicity in poetry,” rather than trying todelimit the problematic category of “visual poetry,” which hasbeen understood to be a type of poetry that deviates fromnormal poetry in and through its visual characteristics (forinstance, poems looking like physical objects). However, visualityis actually an irrelevant feature for the specific character of“visual poetry”; it is iconicity that makes the difference. Whereasvisuality is a sensory trait, iconicity is a semiotic trait consistingof meaning created by way of resemblance, and these twoqualities must not be conflated.In order to illustrate the line of reasoning, two rather differentpoems are analyzed. No scholars refer to Sylvia Plath’s “I AmVertical” as “visual,” but in addition to being visual this poempossesses a certain level of iconicity. Eugen Gomringer’s“Wind,” on the other hand, is a standard example of “visualpoetry.” Also this poem is certainly visual, even though it is notvisuality but a high degree of iconicity that sets it apart frompoetry such as Plath’s. In fact, what is generally but misleadinglyreferred to as “visual poetry” is characterized by extensiveiconicity.
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| 8. |
- Fjellestad, Danuta
(författare)
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Networked uniqueness : The provocations of Being or Nothingness
- 2019
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Ingår i: Orbis Litterarum. - : WILEY. - 0105-7510 .- 1600-0730. ; 74:4, s. 237-250
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Tidskriftsartikel (refereegranskat)abstract
- This essay focuses on one of the most intriguing literary puzzles today, an anonymously published volume Being or Nothingness. Multiplying puzzles and provoking speculative searches for answers, this spoof on Sartre's seminal philosophical text (if this is what it is), I argue, insists on its unique qualities as a bound physical object while simultaneously "unbounding" itself through resolute participation in a variety of networks. Ultimately, I propose, it can be seen as an exemplary specimen of what N. Katherine Hayles has dubbed the "postprint era." Importantly, although in many ways a sui generis book, Being or Nothingness is like other, less baffling, fiction books that through elaborate design forge an oxymoronic "unique copy"; intensifying artifice, they tease with the promise of an auratic experience.
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- Färnlöf, Hans, 1970-
(författare)
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La somme du transfert : Pour une approche compréhensive de la transmission de l'oeuvre de Zola en suédois
- 2019
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Ingår i: Orbis Litterarum. - : Wiley. - 0105-7510 .- 1600-0730. ; 74:2, s. 130-145
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Tidskriftsartikel (refereegranskat)abstract
- Cette étude expose l'état de la recherche actuelle sur le transfert de l'œuvre de Zola en argumentant pour un emploi large du terme de transfert, une approche descriptive de la traduction et une étude globale de l'écrivain. Afin de constituer la « somme du transfert » de l'écrivain, l'étude souligne la nécessité de considérer, dans leur ensemble et dans leur dynamique, la dimension poétique du texte source ainsi que les dimensions sociocritiques et linguistiques, au lieu de se focaliser sur la réception en s'interrogeant sur la circulation des œuvres. Les études antérieures sur le transfert du réalisme français ont surtout élucidé des passages isolés par une approche interprétative. Conformément aux acquis de la traductologie moderne, la présente étude articule le fondement d'une méthode descriptive qui veut caractériser le résultat des traductions et les difficultés que présentent le texte source au traducteur. Dans cette optique, la traduction réalisée fonctionne comme une grille de lecture qui fait ressortir l'originalité du texte source et constitue un témoignage précieux du climat littéraire de l'époque. Enfin, afin de pouvoir offrir une image moins accidentelle du transfert de Zola en Suède, l'étude propose d'examiner ses caractéristiques principales—poétiques, sociologiques et lingustiques—dans leur totalité.
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| 10. |
- Färnlöf, Hans, 1970-
(författare)
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Représentations : observations sur Le Tour du monde en quatre-vingts jours
- 2008
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Ingår i: Orbis Litterarum. - : Wiley. - 0105-7510 .- 1600-0730. ; 63:3, s. 195-215
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Tidskriftsartikel (refereegranskat)abstract
- Dans Le tour du monde en quatre-vingts jours (1873) sont developpes trois types de representations. Par la representation generique, Verne inscrit sa variation " moderne " du roman d'aventures (Bakhtine) en modifiant l'enjeu de l'intrigue traditionnelle; par la representation mimetique, il cree une dialectique efficace entre la didactique et le romanesque; par la representation diegetique, il attribue differentes fonctions narratives a ses personnages principaux (Fogg et Passepartout). Ensemble, ces representations temoignent d'une poetique consequente et elaboree chez Verne, qui situe habilement son projet d'ecriture et par rapport a l'heritage litteraire et par rapport a l'esthetique contemporaine. De ce fait, Verne occupe une place notable dans le champ litteraire de la deuxieme moitie du XIX(e) siecle. Par consequent, il conviendrait, dans le discours theorique et historique litteraires, de ne plus considerer systematiquement Verne comme simple " auteur populaire ", mais de lui accorder la place qui correspond a sa juste valeur d'ecrivain.
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