Artikeln ger resonerande litteraturanvisningar om realismens framväxt, om psykologi, sociologi och marxism. This essay inquires into attention and detail as aesthetic categories in the nineteenth-century reception of photography in Scandinavia.
In seven albumen print photographs, the book documents a fountain sculpture by Swedish sculptor Johan Peter Molin, exhibited at the first Scandinavian Art and Industrial Exhibition in However, the book also includes poetry; each photograph is juxtaposed with a poetic stanza that describes the part of the sculpture that the photograph reproduces.
It argues that a contemporary view of the photographic image, also articulated by the Scandinavian art critics, can be discerned from the layout of the book — namely, that photography produces images too distractive and oversaturated Kultur essa poeten och la mother insignificant details to be aesthetically valuable.
The present article deals mainly with the cultural relationship between Sweden and France cawhen the French influence was considerably strengthened. Such cultural and linguistic dominance was resented especially by those who looked back to Sweden's glorious past when Scandinavia had been the "vagina gentium" and pernicious, i. The worldview that emerges resists anthropocentric normativity by suggesting a more inclusive, biocentric utopia where the boundaries between nature, humans and non-human animals become fluid.
Reading the Kulla-Gulla books from a perspective that is attentive to the presence of animals reveals the extent of the interconnectedness of the human and non-human spheres of life. The
Kultur essa poeten och la mother attributes agency to a number of animals, which allows them to become a vital part of the social fabric of the novels. Without being reduced to metaphorical devices, they speak up and their voices are heard by some of the human characters.
Their status as agents allows them to mediate social changes in a society that is not presented as exclusively human. In the literary universe of Kulla-Gulla, where social hierarchies and gender patterns appear to be firmly established, some characters, both animal and human, are able to destabilize and subvert these patterns with their border-crossing qualities.
Their voices and actions express what the human characters are not able to, and by doing so, they undermine strict humanist dualisms. Längre essä om betydelsen av den kanadensiska författaren L. Montgomerys verk för kvinnliga läsare. The author makes attempt to re-construct the issue of threads which were considered anti-Semitic during a recent discussion on the Polish literary canon.
In turn, with Z. At last, on discussing B. David Gedin, Att få lov. Kvinnor och baler kring talet. Women at balls in the late Nineteenth Century. The ball, as a central literary theme, symbol and milieu, is as old in Swedish literature as the bourgeois, realistic novel. But it is among female writers that it occurs frequently, while it hardly exists among male authors. The obvious reason is that in the life of an unmarried bourgeois woman, the ball was the scene and marketplace for her transformation from her role as daughter to a new one as wife and another as mother.
Going to her first ball was an important and delicate occasion. Her value was a combination of her dowry, social background, looks and behaviour.
This was the day of reckoning of her upbringing. And her success not only decided her own future, but also influenced that of her family. If she did not find a proper husband, her family would in most cases have to support her for the rest of her life. On the other hand, a good marriage could mean a great social and financial improvement for her parents, brothers and sisters.
She could, for example, be able to take care of a less fortunate spinster sister. Demands on the appearance and behaviour of the young woman were both rigorous and paradoxical. That is, to have a social and financial career, she had to appear to be without any monetary interests, and to become a mother she Kultur essa poeten och la mother seem totally unaware of her sexuality. But though the market in the bourgeois, liberal society was far from romantic, it was at least, to some extent, free.
Even though the stakes where high and the rules rigid, the ball represented an opening, a period of possibilities and relative freedom. This becomes more evident in the eighteen-eighties, when the young generation of realistic writers stood up and criticized established society.
Female writers described in particular detail the business of courting and matchmaking at the balls without the traditional romantic glow of love and romance. In their stories, it is also depicted as materialistic and cynical. Consequently, the descriptions effectively functioned as a severe "Kultur essa poeten och la mother" of the situation of the bourgeois woman as well. This marked the beginning of the end of the nineteenth century ball, and both their practical and symbolic significance, in social life as well as in literature.
This development was emphasized further by the next generation of female writers. It becomes especially evident. In those stories, she expropriates the ball as a scene, transforming it into a stage populated by poets and artists. Matrimony, the patriarchy, social position, beauty and money are dismissed; that is, all of the central values in the construction of the hierarchy that defined the bourgeois woman becomes but a petty background to the real drama of individuality, artistry and freedom.
Moreover, the ball is banished to an artificial past in witch Lagerlöf is free to caricature and thereby sharply criticize the actual conditions of women. In this way, she gives Kultur essa poeten och la mother and form to the ongoing upheaval of the established order, and the banishing of the central practical and symbolic function of the balls at the threshold of the twentieth century. The hypothesis of this article is that true love is placed in a manly body and false love in an unmanly body.
Therefore an intersectional perspective is used.
I find that Tomas and Ivan have similar social positions except for their different classes. Tomas evokes love in Gulla, whereas Ivan Kultur essa poeten och la mother lust as well as ambivalence. When Gulla chooses Tomas, she is defined as an adult. In this article, the aphorisms "Kultur essa poeten och la mother" Klara Johanson — are related to the history of the genre. I argue that her aphorisms should be examined in the light of the romantic aphorism and be considered as a contribution to aesthetics.
The meaning of the term was later transferred from medicine to other disciplines, most notably politics, drawing on the analogy of the relation between the health of the physical body and the health of the state connected by the theory of the four humours. Of course, by the beginning of the 20th century, that theory was no longer valid. In his view, aesthetics should precede logic, since individual perception precedes any understanding of a pure concept.
To think with all your senses is to accrue historical knowledge; an aesthetic method with political implications. This development has led us to question the grounds for a socio-ethnic characterization such as Beur literature. Are there other, literary, reasons to motivate the term?
According to our hypothesis, this literature is still marked by the ethnic identity of its writers, through the choice of new thematic areas as well as their literary staging and in the ideological discourse that seem to condition these novels.
These questions will be analysed using the examples of three Beur novels, published in by French authors of North African immigrant descent: This article investigates how Sverrir Sigurðarson, ruler of Norway between andis ideologically legitimised as king in the biography Sverris saga. In previous research, the perception that Sverrir is portrayed as a Christian rex iustus has competed with the perception that Sverrir is depicted as a traditional Old Norse warrior king, who gains his legitimacy through his military successes.
This article demonstrates that the rex iustus idea is central in the saga when it comes to legitimising Sverrir, and that his seizure of power is also placed in the salvation-historical worldview of the time.
The essay describes a deck of playing cards with a short handwritten inscription by the Swedish poet Karl August Nicander — The deck is dated 1 October at the Boo estate, where Nicander was staying in the home of his friend Hugo Hamilton. Since there are no indications of any particularly warm feelings between Nicander and the woman, the versified deck should be considered as an unusual instance of occasional poetry functioning as a prestigious gift. The tone is playful and light, as the games were more a pastime than serious divination.
Interiors scenes of the life at Boo are described, with particular attention given to games, interest in the supernatural such as divination and ghost storiesKultur essa poeten och la mother occasional poetry; the different types of games mentioned include card games, patience, card tricks, and chess. His letters and Kultur essa poeten och la mother give interesting examples of occasions when he Kultur essa poeten och la mother expected to deliver verse during birthday celebrations for members of the household at Boo.
Thematically, the inscriptions on the cards are discussed against the background of the rich flora of playing instructions and soothsaying games that flooded the Swedish market in the early nineteenth century. The popularity of card motifs in Romantic literature is discussed.
A deck of cards is also a material object in which the pictorial element dominates. A deck of cards with playful, semi-serious occult inscriptions by the hand of a Romantic poet is indeed an unusual object, but at the same time it embodies themes and ideologies typical of its time. This paper shows that the historiographical accounts of Johan Runius remain remarkably stable, from the early stages of national literary history of the nineteenth century to the late twentieth century, despite the radical theoretical shifts taking place during the period.
The poet Runius is generally described as an occasional poet, a rhyme virtuoso, a good-tempered man, and as a precursor of the celebrated Carl Michael Bellman, considered a uniquely Swedish genius. These features are connected to nineteenth- and early twentieth-century ideals of masculinity and the nation. Whereas Runius in the early nineteenth century was described as childish, during the later nineteenth century his good temper was interpreted as an ideal, steadfast masculinity in the face of the hardships of early eighteenth-century Sweden.
Further, the historiographical tradition set greater store by poems defined as lyrical. The hailed poems were, in fact, occasional poems, but they were recontextualised by the literary historians as proof of Runius' personal feelings.
The article ends with new suggestions for reading Runius beyond the nation as the ordering principle of literary history. This article addresses the analogy between language and location, and between travel and interpretation, in the hitherto little-studied poetry of W. Its primary example is Day Return', a two-part poem from the early s, which describes a train trip through East Anglia to London and back. This poem develops the analogy between language and location in various ways.
For one thing, it is a bilingual text: Finally, the journey is allegorically construed by the poetic voice as a descent into and return from the underworld. While many of these themes are familiar from Sebald's later work, the value of his poems does not depend upon their relation to his canonised prose: Sebalds, anhand von Day Return', einem zweiteiligen Gedicht aus den fruhen er Jahren. Erstens ist es ein zweisprachiger Text, der durchsetzt ist mit englischen Zeilen, und somit den sprachlichen Zwiespalt evoziert, der der Erfahrung des ausgewanderten Dichters innewohnt.
Schlie ss lich wird die Reise des lyrischen Subjekts als ein Hinabsteigen in die und Heraufsteigen aus der Unterwelt allegorisch gedeutet. Wenn auch viele dieser Themen aus Sebalds
Kultur essa poeten och la mother Werken bekannt sind, ist der Wert seiner Gedichte nicht von ihrer Beziehung zu seiner kanonisierten Prosa abhangig: When Fredrika Bremer in her novel I Dalarne Life in Dalecarlia represents Falu copper mine as the horri c ruin of classic gothic tales: Simultaneously, though, the novel writes the nation as a pastoral on country life and mores of the peasantry.
The article investigates how the Kultur essa poeten och la mother and the pastoral idyllic respectively establishes the nation and national identity on their separate terms and in relation to each other in accordance with their own Kultur essa poeten och la mother inner logic.
The idyllic streaks both manifests and problematizes local place as foundation for national identity, while the gothic exposes identity as arbitrary, and thereby subverts the notion of a citizen subject.
This duality is linked to a market-based model of identity which the article argues is actualized by the novel itself. The condition of possibility is the emerging consumer society and the beginnings of industrialism, which the novel also thematises as Kultur essa poeten och la mother versus modernity. At stake in this eld of tension between the idyllic and the gothic stands the nation as a community of citizens: Sofia Margareta von Haartman, his mother, was the daughter of the doctor and where he studied at the grammar school headed by the national poet J.L.
Runeberg. Ett blad ur vår kulturhistoria, ; Spridda bidrag till Skandinaviens. dans les roches granitiques de la Suède, ; Résumé of an Essay on the Early. was in hibernation when along came Mother Elisabeth whose canonization was. Besök . ChaletsPlatserHistoriaMarvel.
Scandinavia – Page 2. La · Music, books n education . Övralid was home to poet, writer, and Nobel Prize laureate Verner von. Search Results for “sweden” – Travel Europe – The Home of Culture. Sjukdom är något som upptar ett stort intresse i vår samtida kultur.
Möjligen . ras eller ens framträda, menar Georges Canguilhem i sin inflytelserika Le poeten Rafael Campo med titlar som What the Body Told () I Sverige nar i en essä sina litterära gestalters grundläggande ensamhet: ”Det är nog.