| 1011. |
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| 1012. |
- Andersson, Pär-Yngve, 1954-, et al.
(författare)
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Dröm om förändring
- 2007
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Ingår i: små bokstäver - Stora Ord. - Örebro : Harald Forss gille. ; , s. 11-15
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Bokkapitel (populärvet., debatt m.m.)
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| 1013. |
- Andersson, Pär-Yngve, 1954-
(författare)
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Lyrisk roman : en omöjlig genre?
- 2003
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Ingår i: Genrer och genreproblem. - Göteborg : Daidalos. - 9171731857 ; , s. 315-328
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 1014. |
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| 1015. |
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| 1016. |
- Andersson, Pär-Yngve, 1954-
(författare)
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Överskridandets strategier : lyrisk romankonst och dess uttryck hos Rosendahl, Trotzig och Lillpers
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In this thesis I describe and analyse the concept of ”lyrical novel” in relation to concrete textual examples. Referring to Waismann’s open texture (porösität) and Wittgensteins ”family resemblance” I study texts that resemble each other although their lyrical features may not be identical. The language itself attracts attention in these novels. They often involve static descriptions, structural patterns of meaningful contrasts and symmetries, visionary or epiphanic moments. A conventional plot is often fragmented or attenuated. I argue that a reader of a lyrical novel imagines a lyrical language game, thereby focusing details and nuances in the prose text that might otherwise be neglected. After a short survey of the Romantic roots of the lyrical novel, I give various examples of novels from the period 1850-1950. The purpose is to give a broad description of lyrical techniques. The last three chapters consist of more detailed analyses of some Swedish novels from the latter part of the 20th century. In Sven Rosendahl’s Gud Fader och tattaren the narrative progression of the story is broken in lyrical passages of great strength. Some of them can be regarded as epiphanic moments. Birgitta Trotzig is in Dykungens dotter trying to loose the ties of sequential time, giving an all-embracing view of the characters’ circumstances. A hopeful identification with the suffering of Christ is at the centre of this modernist novel, where borders between inner and outer worlds at times seem to be of less importance. The plots in Birgitta Lillpers’ three novels Blomvattnarna, Iris, Isis och skräddaren and Medan de ännu hade hästar are attenuated. There are allegorical veins, but events are seldom of dramatic intensity. The language is full of feeling, and a reader becomes aware of a kind of ”lyrical lingering”, when the author affords each passage a value of its own.
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| 1017. |
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| 1018. |
- Andersson, Ulrika, 1974
(författare)
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The Sacrificial Child in Maori Literature: Narratives of Redemption by Keri Hulme, Patricia Grace, Witi Ihimaera, and Alan Duff
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study is an examination of the theme of the sacrificial child in four of the most well-known novels by Maori authors published in the 1980s and 1990s: Keri Hulme’s The Bone People (1983), Patricia Grace’s Potiki (1986), Witi Ihimaera’s The Whale Rider (1987), and Alan Duff’s Once Were Warriors (1990). The motif of a special child whose death is the pivotal event of the narrative functions partly as a symbol of the destructive marginalization of the Maori people in colonial and postcolonial New Zealand, but it is also given a redemptive significance in that, in all the novels, the child’s death has the effect of healing and strengthening its community or family. In The Sacrificial Child in Maori Literature: Narratives of Redemption by Keri Hulme, Patricia Grace, Witi Ihimaera, and Alan Duff representations of children are studied from the perspective of childhood studies, which describes the cultural construction of childhood taking into account the power structure which subordinates children to adults. This perspective makes it possible to see that the representations of children in these novels often fall back upon a Romantic idealization of childhood as a pre-social state, involving associations to Nature and Origin, that positions children outside the normal subjectivity of the adult. A traditional Maori construction of the child as a sign of continuity is also present in the theme of the savior child who is revealed as a reincarnated ancestor. In this study it is shown that the use of childhood to evoke transcendental values favors a static image of the child as either a symbol of the future or of a utopian otherness. The sacrificial child is the most intense expression of this function of childhood in fiction, a function that immobilizes the image of the child and precludes representations of children as equal agents or subjects.
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| 1019. |
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| 1020. |
- 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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