Tidskrift för litteraturvetenskap 2022-03-25T12:36:27+01:00 Isak Hyltén-Cavallius, Redaktör Open Journal Systems <p><em>Tidskrift för litteraturvetenskap</em> utkommer sedan 1971 med fyra nummer per år och inriktar sig på ett brett spektrum av litteraturvetenskapliga och tvärvetenskapliga frågeställningar. Utöver att publicera vetenskapliga artiklar och essäer erbjuder <em>TfL</em> ett rum för ämnesdebatt och bevakar litteraturvetenskaplig bokutgivning i främst Sverige och Norden. <em>TfL</em> cirkulerar mellan landets litteraturvetenskapliga institutioner i tvåårsintervall och 2021–2022 finns redaktionen vid Lunds universitet.</p> Information om numrets skribenter 2022-03-25T12:36:27+01:00 Robert Ekdahl <p>Information om skribenterna finns också på varje enskild textsida.</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Robert Ekdahl Litteraturvetenskapen om 50 år 2022-03-21T13:58:55+01:00 Jerry Määttä 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Jerry Määttä Natur & Kulturs litteraturhistoria 2022-03-21T13:38:36+01:00 Per Erik Ljung <p>lköjoiöj</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Per Erik Ljung Litteratur & läkekonst. Nio seminarier i medicinsk humaniora 2022-03-21T14:21:10+01:00 Päivi Kosonen 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Päivi Kosonen Litteraturens slut 2022-03-21T14:27:38+01:00 Jon Helgason 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Jon Helgason Mönster i grönt. Graham Greene och 1900-talslitteraturens villkor 2022-03-21T14:48:22+01:00 Anders Öhman 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Anders Öhman Nobelbanor. Svenska förlags utgivning av översatta Nobelpristagare i litteratur sedan 1970 2022-03-21T14:51:38+01:00 Sara Tanderup Linkis 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Sara Tanderup Linkis Silence and Silencing in Children’s Literature 2022-03-21T14:54:58+01:00 Karin Nykvist 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Karin Nykvist Studentdikt för tillfället 1660–1699. Kvantitativa undersökningar av tryckta tillfällesdikter av Värmlandsstudenter vid Uppsalas universitet 2022-03-21T15:00:12+01:00 Valborg Lindgärde 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Valborg Lindgärde Vart längtar min fot. Om Barbro Lindgrens författarskap 2022-03-21T15:03:21+01:00 Mia Österlund <p><br><br></p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Mia Österlund "Grift-runor, skrifne 1769" 2021-11-16T08:24:02+01:00 Daniel Möller <p><strong>“Sepulchral Runes, Written in 1769” A Defamatory and Blasphemous Epitaph by Brynolph Hallborg</strong></p> <p>The seventeenth and eighteenth centuries are the golden age of the poetic epitaph in Sweden and Europe. Most epitaphs were shaped in accordance with the principle of <em>decorum</em>, i.e., they were written to praise the dead and to comfort the bereaved. But there were also poems that sought to instead find faults with the deceased, sometimes even to insult their memory. A form of funeral poetry that was not uncommon during the seventeenth and eighteenth centuries, although not hitherto studied in Sweden, consisted of defamatory, parodic, burlesque, and wickedly humorous verse. This kind of poetry is highly diverse in character, spanning a wide range of moods, from mildly derisive to extremely demeaning poems, with everything from good-natured jocular and comical pieces to coarse, malicious, acutely ironic, and crudely sarcastic texts.</p> <p>An original and highly defamatory epitaph in lapidary style, “Grift-Runor” (Sepulchral Runes), was composed by Brynolph Hallborg (1736–1792). Hallborg’s well-documented preoccupation, or even obsession, with death, along with his interest in parody, sarcasm, and blasphemy, make him a rarity in Swedish literature. At the time, Hallborg’s poem attracted attention and was commented on by Thomas Thorild. The poem can be regarded as an extreme example of a larger eighteenth-century process: the relaxation of the principle of decorum.</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Daniel Möller Hedda Gabler 2021-10-25T11:03:08+02:00 Roland Lysell <p><strong>Hedda Gabler: </strong><strong>A Woman's Will to Power</strong></p> <p><em>Hedda Gabler</em> (1890) is the eighth of Henrik Ibsen’s twelve social plays from <em>The Pillars of Society</em> (1877) to <em>When We Dead Awaken</em> (1899). Most critics and stage directors construe it as a play in the realist tradition and as a <em>pièce bien faite</em>. In this essay, I argue for a different kind of interpretation based on the important studies of the play by Else Høst, John Northam and Brian Johnston. Like Høst, I start with the protagonist’s (Hedda’s) comments about vine leaves in Ejlert Løvborg’s (her former suitor’s) hair. Through these comments, Hedda can be associated to the wineleaves of Emperor Julian in Ibsen’s <em>Emperor and Galilean </em>(1873), where the protagonists Julian and Maximos, a kind of mystic, discuss a utopian realm built on both the Dionysic Greek and the Christian mystical tradition. Hedda is a late follower of this mysticism. In this essay, I emphasize the existential aspect of Hedda’s searching for authentic values.</p> <p>I consider Hedda as an outsider, although she is involved in a fight for power, just as the other characters are. The other characters are described in detail and their actions are fully understandable, whereas Hedda’s character lacks determination. We do not know why she married Tesman. We do not know if she is pregnant. We do not know why she sets fire to Løvborg’s manuscript. Jealousy is too weak an explanation. Whereas the other characters search for the lukewarm indifference of everyday life, Hedda aims at the magnificent and the impossible. She represents the indeterminate aspect of the play, she is the character which does not fit into the realist structure, the character looking beyond and above the other characters, the character open to completely different interpretations, also on stage. Through her suicide she motivates the reader and the spectator to reflect on the metaphysical aspects of life.</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Roland Lysell Motvilliga vittnen 2021-10-20T18:06:46+02:00 Lovisa Andén <p><strong>Reluctant Witnesses: </strong><strong>Swedish Memoirs from the Soviet Karelian Purges</strong></p> <p>Several hundred Swedes emigrated to Soviet Karelia in the beginning of the 1930s. Many of them remained there when the Great Terror began, and they became targets of repression. As of now, there is no coherent public narrative in Sweden that acknowledge the Swedish survivors; most survivors never talked publicly about their experiences, let alone wrote about them, and the few who did, did so reluctantly. This article discusses four memoirs written by Swedish survivors of the Soviet repression and the silence that still surrounds these memoirs. The narratives themselves, as well as the reception of the narratives, bear witness to the difficulty of narrating experiences that have not yet been publicly acknowledged. Based on the Swedish witness accounts, this article aims to examine 1) the difficulty of testifying in the absence of a public narrative, and 2) the ability of witness literature to challenge and change established historical narratives.</p> <p> </p> <p> </p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Lovisa Andén ”Och vi trippar in i bergets svarta strupe” 2021-11-10T16:36:34+01:00 Johanna Lindbo <p><strong>”And we’re tip-toing into the black throat of the mountain”: </strong><strong>Mountain, stone and porous temporality in Mare Kandre’s <em>I ett annat land </em>and Stig Dagerman’s <em>De dömdas ö</em>.</strong></p> <p>The title of this article is borrowed from Mare Kandre’s debut novel <em>I ett annat land </em>(1984). The novel tells the story of a young girl who is traveling with her family in a distant country where sensory experience embosses the narrative and aesthetic. The mountain is one of several more-than-human bodies that the protagonist encounters, and it vividly affects her. Nearly forty years earlier, Stig Dagerman wrote his feverish and surrealist novel <em>De dömdas ö </em>(1946), where a few shipwrecked humans spend their last remaining days on a remote island. As in Kandre’s novel, there is a profound focus on sensory experiences between the human and the more-than-human, and the stony appearance of a mountain becomes an important part of the landscape.</p> <p>The purpose of this article is to study how the stony formations in both novels are created and whether it is possible to understand them as active elements that contribute to the narratives. Through sedimentation, rocks have the capacity to incorporate both time and place in their materiality, and it is therefore possible to regard them as spatio-temporal bodies. Comparing and combining <em>I ett annat land </em>with <em>De dömdas ö </em>in a material ecocritical analysis enables a deeper understanding of how more-than-human matter may constitute a complex part of the storyworld. I will illuminate how these non-organic bodies, through their specific materiality in the sensuous and metaphorical aesthetics of the two novels, brings forth new stories about agency, belonging, and coloniality.</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Johanna Lindbo Konsten som kraftkälla eller livsförnekelse 2021-12-03T09:35:34+01:00 Niclas Johansson <p><strong>Art as Vitalizing Source or Denial of Life: On Inger Edelfeldt’s Künstlerinromane</strong></p> <p>This article examines the role of art in the work of Swedish author Inger Edelfeldt. Based on an analysis of the short story “Skapelsen” (“The Creation,” 1995), the article argues that Edelfeldt’s literary works present two opposing views of art: art as an imitation of life and art as a source of life, which in turn are aligned with Nietzsche’s distinction between the Apollonian and the Dionysian. Furthermore, the article investigates how this distinction relates to Edelfeldt’s stories of the artist as heroine. The article argues that these stories fall into two major categories: the comic and utopian <em>Künsterlinroman</em> – exemplified by <em>Hustru </em>(<em>Wife</em>, 1978) and <em>Det hemliga namnet </em>(<em>The Secret Name</em>, 1999) – and the tragic and critical <em>Künstlerinroman </em>– exemplified by <em>Konsten att dö </em>(<em>The Art of Dying</em>, 2014). The analysis shows that these novels, while antithetical in tendency and structure, are organized by the same dialectic between the Apollonian and Dionysian and between art as an imitation of life and art as a source of life. While one side offers a naïvely utopian and individualistic picture of the woman artist in contemporary society, the other gives a realistic and critical perspective on the same subject. And the interconnection between the two views of art reveals a deeper complexity in the author’s portrayal of the contemporary woman artist than can be achieved through isolated analyses of her individual works.</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Niclas Johansson Zoopoetikens tankar om språk och art 2021-11-10T10:52:19+01:00 Amelie Björck <p><strong>Thoughts on Language and Species in Zoopoetics – a Background Sketch</strong></p> <p>Amelie Björck</p> <p>Zoopoetic studies investigate “texts that are, in one way or another, predicated upon an engagement with animals and animality (human and nonhuman),” to quote Kári Driscoll and Eva Hoffman. A central question in this field concerns the relation between language and species. This article suggests that two basic views can be discerned: one that conceptualizes language as a human-specific capacity, and another that frames language as a broader phenomenon that humans and most other species have in common. These two starting points – the first accentuating differences, the second emphasizing similarities – give rise to two different approaches to zoopoetry. In the first case, zoopoetry is associated with the deconstruction of human semantics and, thus, of human power. In the second case, zoopoetry is seen as an experiment in which the attentive human poet comes together with animals in a natural act of mutual <em>poiesis</em>.</p> <p>The aim of the article is to uncover the genealogy of these two views – here named the “language sceptic” perspective and the “language affirmative” perspective, respectively – and to problematize them as scholarly reading positions. Using examples from Les Murray’s animal poetry, the article argues that the two perspectives might more fruitfully be explored as two dimensions that exist and create interesting friction within zoopoetic texts – hence an oscillation between the perspectives is preferable.</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Amelie Björck Litteraturvetenskapen i framtiden 2021-12-03T09:49:07+01:00 Torsten Pettersson <p><strong>Literary Scholarship in the Future: </strong><strong>From Canon-Centred Subaltern to Literary-Minded Social Participant</strong></p> <p>Appreciation of literature and literary scholarship has arguably been on the wane in the twenty-first century. In this article, I argue that literary scholarship, in response to this declining interest, needs to be reformed. Literary scholars should continue to study literature from all historical periods, but they need to deal with the conflict between the democratic values of contemporary readers and pre-1968 sexism and racism in literature. This blight on the reading experience cannot be removed by the one-sided measures of historicism or presentism.</p> <p>Rather than marginalizing popular literature, children’s literature, and non-Western literature, scholars should integrate this body of work into the core of literary studies and accord them roughly half of their interest alongside canonized Western literature for adults. Literary scholars should also be prepared to present their teaching curricula as a development of skills that can be used in the processing and evaluation of any kind of text in any kind of employment in a company or a government agency.</p> <p>Furthermore, rather than produce literary readings mainly in terms of content, scholars should highlight the synergy of content and literary qualities such as form, fictionality and generalizability. This will allow them to valorize the enhanced understanding of real-life phenomena offered by literary works in the form of socially useful “applied literary scholarship.” The fields of operation for literary studies should include schools; the training of professionals, such as doctors and economists; and bibliotherapy designed to alleviate anxiety and malaise before it develops into a mental condition requiring treatment in a healthcare system that is already stretched beyond its capacity.</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Torsten Pettersson Skandinaviska studier vid Italiens universitet 2022-03-21T14:06:23+01:00 Massimo Ciaravolo 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Massimo Ciaravolo Interseksjonalitet – anarki – praxeologi 2022-03-21T14:13:18+01:00 Stefanie von Schnurbein 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Stefanie von Schnurbein ”Förutsättningar, föresatser och förväntningar” TfL 1971:1 2022-03-21T10:50:09+01:00 Louise Vinge 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Louise Vinge ”Hermeneutiska problem i receptionsestetiken” TfL 1977:2 2022-03-21T11:26:20+01:00 Arne Melberg 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Arne Melberg ”Parodins dimensioner” TfL 1978:3 2022-03-21T12:21:36+01:00 Eva Haettner Aurelius 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Eva Haettner Aurelius ”Den teoretiska texten” TfL 2002:4 2022-03-21T12:27:27+01:00 Thomas Götselius 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Roland Lysell ”Tema: Skevt” TfL 2005:3 2022-03-21T12:30:24+01:00 Eva Heggestad Maria Karlsson Anna Williams 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Eva Heggestad, Maria Karlsson, Anna Williams ”Ikonicitet” TfL 2008:1 2022-03-21T12:37:14+01:00 Lars Elleström 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Lars Ellerström, Jørgen Bruhn Digital humaniora, datorisering och litteraturvetenskap i en digitaliserad värld 2022-03-21T13:48:35+01:00 Karl Berglund Oscar Jansson Lina Rahm <p>De senaste decennierna har ”digital humaniora” nämnts i otaliga sammanhang och kommit att påverka litteraturvetenskaplig utbildning och forskning –&nbsp;trots att begreppets innebörd alltjämt är omdebatterad. Är det en ny disciplin eller specialisering av forskning och undervisning som redan bedrivs? På vilka sätt hänger digital humaniora ihop med samhällets och universitetens datorisering? Är det ett svar på hur litteraturen kan förstås i en digitaliserad värld, eller en fingervisning om litteraturvetenskapens framtid? För att reda i begreppen bjöd TFL-redaktionen in till ett panelsamtal via videolänk, av och med Karl Berglund (Uppsala universitet), Oscar Jansson (Lunds universitet) och Lina Rahm (KTH).</p> 2022-03-25T00:00:00+01:00 Copyright (c) 2022 Karl Berglund, Oscar Jansson, Lina Rahm