| 1. |
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| 2. |
- Miočević, Ljubica, 1977-
(författare)
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Tre romantiska spaderdamer
- 2011
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Ingår i: IASS 2010 Proceedings. - 9789174738391
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 3. |
- Van Meerbergen, Sara, 1981-
(författare)
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Dutch Picture Books in Swedish Translation : Towards a model for multimodal analysis
- 2009
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Ingår i: Translation and the (Trans)formation of Identities.. - Leuven : CETRA.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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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| 4. |
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| 5. |
- Sisask, Florence
(författare)
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Le canon littéraire en question : quelques réflexions comparatives
- 2010
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Ingår i: Actes du XVIIe congrès des romanistes scandinaves / Actas del XVII congreso de romanistas escandinavos. - Tampere : Tampere University Press. - 9789514483394 ; , s. 1185-1198
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Alfredsson, Johan, 1974
(författare)
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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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Ingår i: "Avant-Garde and Technology", 2005-11-25, Stockholm.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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.
(författare)
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The New Order of Criticism. Explorations of Book Reviews Between the Interpretative and Algorithmic
- 2022
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Ingår i: CEUR Workshop Proceedings. - Aachen : CEUR-WS. ; , s. 228-234
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Konferensbidrag (refereegranskat)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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| 8. |
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| 9. |
- Packalén, Malgorzata Anna, 1952-
(författare)
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Nieobecna obecność: kobieca mimikra literackiej konwencji na przykładzie wybranych utworów Nataszy Goerke i Olgi Tokarczuk
- 2009
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Ingår i: 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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Konferensbidrag (refereegranskat)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
(författare)
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Stilfiguren "syllepsis" i en fransk poesikorpus
- 2014
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Ingår i: Bidrag presenterat vid Forum för textforskning 9, 12-13 juni 2014, Göteborgs universitet. 13/6 2014..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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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| 11. |
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| 12. |
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| 13. |
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| 14. |
- Ågerup, Karl, 1972-
(författare)
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Yasmina Khadra et le lecteur occidental
- 2011
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Ingår i: Pensar a Literatura no Séc. XXI. - Braga : ALETHEIA – Associação Científica e Cultural. - 9789726972006 ; , s. 365-376
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Konferensbidrag (refereegranskat)abstract
- Taking the example of the Algerian novelist Yasmina Khadra, the present study examines the intercultural discourse created by North African fiction addressing a Western reader.Considering a novel originally published in France in 2006, namely Les sirènes de Bagdad, the study suggests that already the choice of language and genre is an expression of the author’s approaching of the Western reader. Also, the Western reader is written into the story by didactic features and referential play. Examining Yasmina Khadra’s image and the rhetoric of his narrative, the study finds that the author produces intermediate acts of speech aiming to make certain aspects of Arabic culture intelligible to the Western reader. Judging from the reception in Europe and in the USA, the prose in question is generally perceived as a relevant and enlightening commentary to the situation in the Middle-East. However, some German critics seem reluctant towards the authority of the writer and to parts of the referential grounding. The study suggests that the differences of opinion in this respect depend on varying degrees of readiness to accept the designated role of the reader inherent to the enunciative situation.
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| 15. |
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| 16. |
- Sörman, Richard
(författare)
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Traditionalisme et modernisme dans Les Pensées
- 2007
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Ingår i: Religion, Ethics, and History in the French Long Seventeenth Century / La Religion, la morale, et l'histoire à l'âge classique. - 9783039111046
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Konferensbidrag (refereegranskat)
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| 17. |
- Lenemark, Christian, 1978
(författare)
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Så nära men ändå så långt bort. Berättelser om demens i svensk samtidslitteratur
- 2022
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Ingår i: Ranges of proximity. Approaching Narratives in Medicine, Lund 3–4 oktober 2022.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Idag beräknas 47 miljoner människor i världen ha en demenssjukdom. År 2050 är prognosen att siffran tangerar 131-miljonersstrecket. I kölvattnet på denna utveckling har det under de senaste decennierna gått att urskilja en ”cultural dementia boom”. Demens har blivit en sjukdom som inte bara är förbehållen ett biomedicinsk intresse, utan ägnas stor uppmärksamhet i kulturen överlag. Papret fokuserar på denna kulturella demensboom i en svensk kontext med utgångspunkt i tre litterära anhörigberättelser om demenssjukdom utgivna under 2000-talet: Marie Petersons Du tror du vet allting (2004), Anna-Karin Palms Jag skriver över ditt ansikte (2021) och Jonas Bruns Hon minns inte (2021). Utmärkande för dessa berättelser är författarnas strävan efter att komma underfund med hur det som en gång varit så nära – deras demenssjuka mödrar – under sjukdomsförloppet successivt förvandlas och rör sig längre och längre bort, in i glömskan. Sammantagna reser berättelserna därmed en rad intressanta frågor som tangerar problemområdet närhet och distans: Hur förhåller de sig till de föreställningar om demens som förmedlas i kulturen överlag? Lägger de sig nära dessa större kulturella berättelser eller intar de distans? Hur väljer de tre författarna att gestalta demenssjukdomen och vad den gör med dem själva och med deras demenssjuka mödrar? Vad innebär det att med språket och minnet som verktyg försöka fånga och hålla fast det som i ljuset av sjukdomen obönhörligen inte låter sig fångas och fasthållas? Det senare är en ur etisk synvinkel akut fråga som dessa demensberättelser aktualiserar och som kan sägas gälla sjukdomsberättelser överlag.
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| 18. |
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| 19. |
- Whiteley, Giles, 1981-
(författare)
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Blanchot’s L’ârret de mort : Allegory and the Trauma of History
- 2016
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Blanchot’s L’ârret de mort (1948) has long been recognised as a seminal modernist text, but after Derrida it has tended to be read for its ‘writerly’ qualities. Perhaps for this reason, while scores of readings have focused on Blanchot’s meditations on questions such as the nature of writing, on the figure of night and language, and on parallels to his monumental ‘La Littérature et le droit à la mort’ (1948), the question of history as it is developed in the récit (the spectre of the Holocaust, ‘nach Auschwitz’) has been discussed (e.g. Hess 1999; Rothberg 2000) but not fully examined, nor have the ways in which L’ârret de mort may be reread after the publication of the semi-autobiographical L’instant de ma mort (1994). This paper will examine Blanchot’s translation of history and trauma in the récit, framed through a theoretical discussion of the nature of allegory as translation. Comparing Benjamin’s influential discussion of allegory in his Trauerspiels (1928) with Blanchot’s discussion of similar themes (somewhat differently) in ‘Le langage de la fiction’ (1949), the idea of allegory as a response to historical trauma will be introduced to challenge the idea that ‘there is simply no place for hermeneutical or rhetorical considerations’ (Shaviro 1990) when reading L’ârret de mort. The text operates as an allegory not simply of traumatic French political history (the Munich Crisis, Operation Paula, and more obliquely, the Holocaust), but of Blanchot’s own traumatic history, his experience of surviving a firing-squad recounted in the later récit. It is precisely insofar as Blanchot’s allegory refuses simplistic metaphrase (for instance, in the ways in which the very precision of the text’s dating is displaced - was 13th October 1938 a Wednesday or Thursday?) that we know it to be allegory as such: it is only thus that we know that what is at stake here is not simply a question of mourning but melancholia, the trauma of history, of a wound (τραύμα) which can never be fully healed.
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| 25. |
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| 26. |
- Sörman, Richard, 1967-
(författare)
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La Perversion dans les dialogues de Tabarin
- 2009
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Ingår i: Origines: Actes du 39e congrès annuel de la North American Society for Seventeenth-Century French Literature. - Tübingen : Gunter Narr Verlag. - 9783823364801 ; , s. 35-44
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Konferensbidrag (refereegranskat)
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| 27. |
- Alfredsson, Johan, 1974
(författare)
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The Politics of Form – Lars-Mikael Raattamaa and Anna Hallberg
- 2011
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Ingår i: "Across Media – Contemporary Literature and Media Culture", 2011-05-06, Trondheim, Denmark.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What happens when a writer crosses the boundaries of literature? This is a question which it is quite pointless to ask, unless you state your theoretical point of departure. When that has been done, however, it is one of the most important issues which a literary scholar can raise. Through certain parts of the theories of Jean-Jacques Lecercle (mainly his concept of the “remainder” in language), Marjorie Perloff (mainly her discussions of how free verse is convention-based, and of what comes out of that insight: what she labels “after free verse”), and Jacques Rancière (mainly his concepts “polis” and “the political”), I aim to discuss what happens when Swedish contemporary poets Anna Hallberg and Lars-Mikael Raattamaa during recent years have sought to actively cross the boundaries of literature. These theoretical perspectives enable me to dwell on the political implications of this kind of boundary-crossing. This political dimension consists of a critique not only of the conventions of literature, but also of the modernist view of e.g. free verse. The crossing of literature’s boundaries not only moves them. More importantly, in these cases, it identifies them; it even highlights them, rendering them open for scrutiny.
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| 28. |
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| 29. |
- Petersson, Margareta
(författare)
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Varför läsa litteratur?
- 2007
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Ingår i: Fjärde nationella konferensen i svenska med didaktisk inriktning. - : 112. - 9789172644205 ; , s. 97-112
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 30. |
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| 31. |
- Sadri, Houman, 1971
(författare)
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The Super-Heroine's Journey: Comics, Gender and the Monomyth
- 2014
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Ingår i: 3rd Global Conference of the Graphic Novel, 3-5 September 2014, Mansfield College, Oxford University.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The comic book superhero is currently enjoying a period of cultural ubiquity, thanks in no small measure to the continued popularity of Monomythical narratives – which is to say texts informed by, or harking back to, the Hero’s Journey, as defined by the mythologist Joseph Campbell. This Monomyth is essentially a structural pattern common to a wide range of mythological and scriptural tales from around the world, in which an ordinary yet heroic figure leaves the comfort of home, immerses himself in the unfamiliar and extraordinary events of an outside world of which he has no real experience, fights and wins a decisive victory and, once he has done so, returns home with some essential boon or blessing. Superheroes can, to some extent, be seen as the ultimate modern exemplars of this pattern; this, though, is problematized by the relative lack of viable female heroes of this type. Using Campbell’s theories in tandem with the work of other archetypal theorists and the relatively new discipline of biocultural criticism, it is my intention to investigate whether this relative paucity – characterised by characters who are often depicted as little more than objects of titillation or fetish, not to mention tending to begin as gender reversed knock-offs of established male heroes – comes as a result of the inherently patriarchal nature of the Monomythical structure itself. Further to this, I intend to argue that while the evolution of our culture and the relative decline of patriarchal strictures have theoretically ensured that the heroic archetype has evolved to the point where traditional gender roles are no longer stable, the archetypes engendered within the Monomyth have become so ideologically paradigmatic as to hamper the imperative toward challenging these codes within the idiom of the graphic novel.
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| 32. |
- Whiteley, Giles, 1981-
(författare)
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Myth and Melancholia : Schelling on Aesthetic Autonomy
- 2016
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper will seek to examine Schelling’s philosophy of art, in particular in how it develops between his Naturphilosophie of the System (1800) and his 1840s lectures on positive philosophy. Schelling’s philosophy is widely misunderstood, marginalized in a syntactic footnote of the journey from Kant to Hegel, but his philosophy of art is even less fully comprehended. By showing how Schelling breaks from Kant in the late 1790s and early 1800s, this paper will reposition him at the forefront of the aesthetic debates of the German idealists. Schelling’s theory of art, based upon a cultural and historical reconsideration of the Bewusstlosigkeit prior to the work of art as such, focuses more and more on the complex historical and social relationships between myth, art and society, and in so doing compares with the work of two key later German philosophers of art, Benjamin and Heidegger.
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| 33. |
- Strawhacker, Colleen, et al.
(författare)
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Building Cyberinfrastructure from the Ground Up for the North Atlantic Biocultural Organization : Introducing the cyberNABO Project
- 2015
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Ingår i: 2015 Digital Heritage: Volume 2. - : Institute of Electrical and Electronics Engineers (IEEE). - 9781509000487 ; , s. 457-460
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Konferensbidrag (refereegranskat)abstract
- The cyberNABO Project is designed to solidify a developing multidisciplinary community through the development of cyberinfrastructure (CI) to study the long-term human ecodynamics of North Atlantic, a region that is especially vulnerable to ongoing climate and environmental change. It builds build upon prior sustained field and laboratory research, rich and diverse datasets, and a strong involvement by local communities and institutions. cyberNABO is currently hosting a series of workshops aimed at taking these collaborators and stakeholder communities to a new level of integration and to develop capacity for building CI and visualizations in subsequent funding cycles. Research on the long-term sustainability in the Arctic requires compiling data from over thousands of square miles, hundreds of years, and multiple disciplines, from climatology to archaeology to folklore. The complexity of datasets of this scale presents a unique challenge to create a CI system that results in interoperability and accessibility of data – a task that needs an explicit plan and extensive expertise from a variety of fields. Investing in a comprehensive CI system provides the opportunity to integrate collaborators and data from the natural sciences, social sciences, and the humanities, thus providing the opportunity for a holistic approach to long-term human ecodynamics in the context of rapid social and environmental change and for the creation of digital tools for expanded northern community involvement in global change research. In order to address questions of this scale, however, this collaborative group needs to integrate multiple sources, types, and formats of data to address multidisciplinary questions and provide effective support for visualization and modeling efforts that can connect knowledge systems.
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| 34. |
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| 35. |
- Olsson, Nils
(författare)
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The Author / as Editor / as Producer. Preliminary Notes on the Aesthetic Function of the Editor
- 2018
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Ingår i: R/EPRESENTATIONS and R/ECONFIGURATIONS of the D/IGITAL. C(ONFERENCE): Thinking Through the Digital in Literature – Representations + Poetics + Sites + Publications. - Linköping.
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Konferensbidrag (refereegranskat)abstract
- In Walter Benjamin’s ”The Author as Producer”, the writer is urged to identify with the worker in terms of a producer – i.e. not only on an ideological level, but with regards to the technological conditions of production within a given historical moment – in order to become both politically and aesthetically effective. This, in turn, must take place through an elimination of the demarcation lines between specific mediums and their affiliated competences. In this sense (at least according to Benjamin, in 1934), doing away with the ’barrier’ between text and image, for instance, would be a way of escaping a bourgeois production apparatus. One aspect of this idea of the author as producer, is that the author here assumes the figure of what is essentially an editor: someone who identifies, collects, modifies, constellates and distributes cultural artifacts – regardless of medium, regardless of publishing surface; a practice that is not medium specific, and implies an unconstrained mobility between different technologies of cultural production and distribution. One consequence of the general digitalization of contemporary culture is that the distinction between the figure of the author and the editor has become eminently uncertain. Can Benjamin’s 1934 reflection on cultural production be beneficial for developing tools to describe what one could call an recent editorial turn of artistic practice? Is this assumed ’turn’ actually a longer historical process, made visible by the emergence of digital editing (in a broader sense)? And in what ways can it help to uncover hitherto hard to discern aspects of historical art and literature?
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| 44. |
- Andersson, Elin, 1977-
(författare)
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Vadstena 1427 : The Visit of the Syon Brothers
- 2010
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Ingår i: Saint Birgitta, Syon and Vadstena. - Stockholm : Kungl. vitterhets historie och antivitetsakademien. - 9789174023947 ; , s. 104-109
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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| 47. |
- Wallgren Hemlin, Barbro, 1963
(författare)
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Bishop Esaias Tegnér and the Changes: Textual Variants as Clues to the Creative Process
- 2023
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Ingår i: GENESIS Taipei 2023. The Draft and its environs. Taipei, 28–29 September 2023 Organized by National Central University and National Taiwan Normal University. - Taipei.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Bishop Esaias Tegnér and the Changes. Textual Variants As Clues to the Creative Process “I think it’s very interesting to learn the order in which Tegnér made the changes.” These words were uttered by one of my colleagues as we studied deletions and amendments in the famous Swedish nineteenth-century poet and bishop Esaias Tegnér’s handwritten preaching manuscripts. All these changes that Tegnér had made in his manuscripts were later to be presented in an organised fashion as textual variants in the critical edition of his ecclesiastical speeches, which we were working on at the time. To study and note all changes made in a text, or variations between different versions of the same text, is a tremendous work, but also the essence of the critical edition. It is not only the final version of the text that deserves attention. Indeed, the preceding versions are equally interesting, and through meticulously ordered comments, the critical edition makes it possible to follow the creative process that led to the final product. By employing the edition’s framework of textual variants, I will in my talk give some examples of changes that Tegnér made in his ecclesiastical speeches. It is interesting to see what is changed over the course of the writing process in terms of stylistics, content and composition. Choices of words are harshened or softened, words are moved around to reshape sentences, one paragraph is swapped for another. What then, is the effect of the changes? And are there aspects in the surrounding context that may shed light upon the reasons for the alterations? The edition is part of the Tegnér Society publication of the collected writings of Esaias Tegnér (see bibliography below). The philological work has been conducted by Barbro Wallgren Hemlin, and the work will in its entirety consist of four or possibly five volumes. The three first volumes were published in 2017, 2019 and 2022. The fourth one is due out in 2024. The edition is based on a comprehensive body of material – approximately 1 200 handwritten pages of manuscript. The project has been conducted with continuous financial support from the Swedish Academy and Riksbankens Jubileumsfond (The Swedish Foundation for Humanities and Social Sciences) among others.
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