The conference is organized around a number thematic sessions to which we have invited researchers and scholars to present papers. For each thematic session there is appointed a chair, who also is the contact person for this session. Abstract max characters with spaces mailed to session organizer latest on December 15, Decisions of accepted papers will be sent on January 15, Full papers max 60 characters with spaces mailed to session organizer "For mycket majs gar rakt in i tanken" on June 6, Preliminary paper session schedule pdf.
Map over KTH campus pdf. For almost half a century, Jan Erik Vold has played an important part on the cultural scene in Norway, both as a poet, an essayist, reviewer, translator and editor. He has also taken an active part in various public debates, and he has created jazz and poetry performances in co-operation with leading Norwegian and foreign jazz musicians. From onwards he and other authors among them Dag Solstad edited the literary periodical Profil.
This was a strong, partly mocking criticism of the state of affairs in contemporary Norwegian literature and literary reviewing practice, as well as the conservatism of the big publishing houses towards new, experimental literature. In contrast with the prevailing attitudes in academic and radical circles in the ies, Vold was fascinated with the financial and graphic developments rendered possible to young authors by modern printing techniques.
Medial Avant-Garde and Renewal of Genre. The price at punctual enlistment was10 DKK. The dynamics of the plot is so conditioned by an active use of a new medium — and as a fictive exploration of that the at hand can be characterized as experimental and some form of avant-garde. At the same time it signifies a — continuing and renewing — fusion of two older, genres, who have played a great role in the development of fiction.
In terms of plot Jeg tror, jeg elsker dig likewise oscillatesbetween the most elementary, age-old love intrigue and a number of funny, often grotesque markers of actuality. My paper will unfold the here implied tension between a medial pioneer work and a renewal of genres rich in tradition.
The s are a notable period in Finnish literature and culture, which has produced many outstanding literary works now regarded as modern classics. High modernism in Finnish poetry was established by the mids, at the latest. In my paper I will investigate the historical context of Finnish literary modernism of the s. I construct it from the discussions of topical issues in the Finnish literary journals from the late s to the sin order that the new modernist aesthetics, its ideals and controversies, domestic and international literary models and stimuli, may be clearly delineated.
Presently, young writers and critics call for breaking old rules and forms in art and literature. While more conservative critics and writers adhere to the old values, the young generation stresses the importance of innovation and regeneration. Furthermore, I will examine whether there are decisive markers of avant-garde aesthetics in the critical discussions of a modern literary text. If so, these markers are important indeed, and they should be counted among the distinguishing features of the critical discourse of Finnish modernism.
Such bodies function no longer as natural and familiar objects in the world but as aberrant and disruptive forms that call for and often engage in new and different ways of relating to the world. Such problems necessarily call into question the very possibility of identity not only in an abstract sense but in its concrete embodiment.
In my paper I discuss two ways in which this can be approached, within "For mycket majs gar rakt in i tanken" latest Danish literature. First of all it relates to the artistic trends that appear in new Danish poetry.
The montage is a work of art in which stylistic elements associated with different contexts are installed. The following Danish poets will be discussed: Fan fiction writers use an existing
For mycket majs gar rakt in i tanken universe literature, film, etc to develop scenarios and characters in creative ways within the logic of the original universe. The cult TV series Buffy the Vampire Slayer has inspired a large number of fan fictions posted on various internet sites.
Pairings of characters is a main concern in fan fiction, where love and sex are predominant themes. The Buffy femslash fanfics featuring a lesbian couple examined in this paper revolve around the romantic and sexual relationship between the two Slayers, Buffy and Faith, who are not a couple in the TV show.
Fanfic authors choose to modify the nature of their relationship in making them lovers rather than colleagues and, later, enemies which they are in the world of the TV show. Discussing whether these fan fictions are pornography or No title erotica, I argue that a feminist analysis of femslash should adopt a queer rather than gender perspective.
Images of Women in Korean and Indonesian Literature: Study of Hwangjini and Nyai Dasima. This paper examines the images of women and its social role through a literary study For mycket majs gar rakt in i tanken Korean novel Hwangjinhi and Indonesian novel Nyai Dasima.
By examining thisever-lasting important novel, I clarify the feminist idea in the early modern Korean and Indonesian literary world. Both novels reflect the problem of social and womenalienated at that time. Having been rewriting for several version and genre, Hwangjini and Nyai Dasima are signed the long-life and interested work ever. With different social background, both novels implicitly reflect upon the role of social class in shaping women images.
Hwangjinhi become a Gisaeng after being kicked from noble family out, while Dasima become a victim after leaving her unmarried husband, Edward. With their popular kind of narration, along with social conflict and love affairs background makes both novels been always attractive up recent.
The works will be a benefit also for understanding Korean and Indonesian society through literary world. In this paper I argue that, by connecting Blixen again this disruptive Gothic tradition, of transgressing gender we can also change our way of reading her.
Modern researchers on the Gothic period, has pointed out the genres preoccupation with disruption of stable notions of gender and sexuality. During their journey the crew uses a blank map, representing the ocean, literally illustrating nothing. Maps are fundamental to human consciousness of space and time but become here a image of the contrary; the captains map signifies the unimaginable and absent.
The captains sea chart represents a space or a territory, suggesting scale, orientation and accuracy and is therefore supposedly informative. And although north and south, forward and backward loose their meaning in the story, the nonsensical data offered by the map does not
For mycket majs gar rakt in i tanken non existence of data.
This is also indicated in the name Snark, a portmanteau word, resembling words like snail, snake or shark, snarl and bark. Uniformitet och kreativit kaos i barnlitteraturen.
The For mycket majs gar rakt in i tanken provoked by contemporary digital media have altered the traditional concepts of political and social hierarchies as well as blurred the boundaries between disciplines. The concepts of interdisciplinarity and transdisciplinarity, as well as those of transnationalism and multiculturalism, offer insight into the new sets of relationships that have developed between diverse disciplines within a global and local context.
These relationships are framed within a digital media structure based on processes of mediation, remediation and transmediation that reflect the digital transformations that have blurred the boundaries between classic and new media Lev Manovich; Henry Jenkins. For mycket majs gar rakt in i tanken this context literary works are no longer part of a standalone discipline but can be visually represented in multiple visual formats, both digital and analogue. The paper will focus on demonstrating, through a visual artwork titled Help Me To Be Friends With Herhow the richness of contemporary digital media For mycket majs gar rakt in i tanken the opportunity to create images from literary texts that, having originated as written word, are transformed into digital artworks that can be transferred into analogue formats.
The paper will conclude by demonstrating the relevance and vitality of literature within the contemporary digital hybridization processes which display words, as both textual and visual artworks, as well as stress the ruptures in the socio-political hierarchies that these unorthodox practices generate. Visual art has developed different strategies to refer to literature and literary motives. The transformation into new media is one. The remediation implies a re- contextualizing and updating of the prior text.
It raises the question of what kinds of mediation and perception are generated in different media and different systems of representation, and what narrative possibilities are enabled. The transformation of a specific moment of a printed past into the filmic present and the re-evaluation of the ephemeral text poses the questions: Den norske kunstneren og forfatteren Matias Faldbakken beskriver i sin bok Snort stories den moderne kunstneren som en Googleprofessor.
Steve McQueen at the Heart of Darkness. The question of knowledge in times of globalization. Det er den urene smaken, det Kant kalte sansenes smak, som markerer ulikhet. The Aesthetics of Adaptation: Contemporary Transmedial Retellings of H. When most people think of adaptations of H. Adaptations can in fact be radically different from their source texts and still be considered valid.
In addition, the transmedial nature of these Andersen adaptations published first in a magazine, then online, and then in book form, provides a special opportunity to look at how these various forms mediate the experience to the reader. Creating a Peeping Tom: This paper is based on the premise that the conditions and assumptions of media culture influence not only the thematics but also the aesthetics of the contemporary novel.
First-person narration and internal focalization through the protagonist create a text that focuses on the male gaze and being a peeping Tom, but more importantly, Fatso is an example of how contemporary literature assumes an implied reader who is a spectator, a consumer and connoisseur of visual media. In this case, the implied reader assumes the position of a male viewer of pornography, the position of a peeping Tom whose own pleasure and desire is closely related to the act of looking.
While reading the novel, we argue that the actual reader is forced to take this position. Thus, our textual discussion of the dialogue with pornography in Fatso will form a part of a more general discussion of the consequences of such intermedial strategies for the aesthetics of the contemporary novel and the reading experience. I synnerhet kommer det att handla om det inledande partiet i samlingen Salome, sfinxerna: Transnationalism and the aesthetic are hardly commensurate terms.
Indeed, on the face of it, they share little common ground: If the aesthetic can offer a critical lens into transnationalism, it must be taken not as autotelic, while transnationalism must run the risk of assuming the shape of a modernist, aesthetic cosmopolitanism against which Bruce Robbins, amongst others, warns. Nevertheless, transnational discourses are often concerned with finding a form within which to aggregate a heterogeneous set of particulars, and the aesthetic offers a sophisticated vocabulary for this modeling of the globe.
In doing so, I argue for the value here of Kantian reflective judgment. It not only draws attention to the formal issues at play in imagining transnational connectivity, but, as a mode of judgment activated when an organizing concept for objects is no longer available, it also points to a domain that exceeds the scheme whereby it is represented and any a priori framework.
Relocated to transnational studies, this means that the terrain of the transnational is distinct from the spatio-temporal grid that demarcates nation-states, and that the aesthetic becomes politicized as a way of thinking the asymmetrical relationship between the nation and the transnational. On the politics of literature theory. The article argues for a radical version of modernism that is also presented as a radical political programme: Adorno's text is a half-theological plea for transcendence.
Both the historical situation of the Cold War and the dominance of aesthetic modernism have changed. How convincing are modernism's aesthetical and political axioms today?
Does Adorno not overestimate the critical potential of heroic individualism?
Narratives that restore social contexts, social coherence and horizons of concrete practical hope might still be useful to understand political dimensions of the literary process - even if and especially because its political context the communist bloc and the historico-philosophical ideology Stalinist determinism has ceased to exist.
The paper will discuss the question: What's left what remains? Var och en som så mycket försökt att skriva ett vykort vet. – att skriva är att . I förlängningen av Alice uttalande ligger tanken att den önskvärda patienten, i ett. Så skapas ett rum där ingen går säker, trots föregivet koncept.
. den Surrealismus” där Adorno mycket skissartat utvecklar en teori om det surrealistiska Tanken är att jag i detta paper, bland annat genom att vända mig till Adornos flyttar rakt in i spalterna, till de
For mycket majs gar rakt in i tanken följetongsavdelningarna. bildning.2 Mycket tyder på att det tyska kontaktnät som togs i anspråk för Lindblads historia och en tidskapsel som tar oss rakt in i talets musikestetiska samtal.
uppskattar hans verk; “I går afton hörde jag repetitionen till Spohrs Faust, som i . Tanken i salongen var att delarna med sin individualitet formade.