Elina Druker, Björn Sundmark, Asalena Warnqvist, Maria Österlund
Introduction: Silence and Silencing in Children’s Literature
引言:儿童文学中的沉默与沉默
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The Poetic Form of Youth: The Rebellious Power of Language and Desire in the Anthologies Kärlek och uppror and Berör och förstör Siv Widerberg and Anna Artén’s poetry anthology Kärlek och uppror: 210 dikter för unga människor (Love and Rebellion: 210 Poems for Young People, 1989) is something of a classic when it comes to Swedish contemporary poetry explicitly addressing young readers. Thirty years after its publication another poetry anthology, Berör och förstör: Dikter för unga (Affect and Destroy: Poems for Youth, 2019), edited by Athena Farrokhzad and Kristofer Folkhammar, was published. Both books tap into a long tradition of lyrical anthologies. Neither of the anthologies contain poetry written primarily for young readers. On the contrary, the anthologies include poems from the Swedish lyrical canon. Although the two anthologies share a similar structure and joint themes such as youth, love, poetry, and rebellion, they are significantly different in regard to poetic form and the conceptualizations of youth. The main theoretical perspective in this study is that the form of the anthologized poems can be understood as ideological expressions of an interplay between the genre's tradition and its specific aesthetic context. By historizing the genre and comparing the different paratexts of the anthologies, the article shows that adult conceptions of youth hides behind the editorial choices. In a quest to (re)create new writing subjects, through the rebellious powers of poetic language and love, the symbolic form of youth poetry both challenges and negates adult notions of youth in the two anthologies.
青年的诗歌形式:选集中语言和欲望的反叛力量Kärlek och uppror和Berör och förstör西弗·威德伯格和安娜·阿尔茨海姆的诗歌选集Kärlek och uppror: 210 dikter för unga människor(爱与反叛:210首写给年轻人的诗歌，1989)是瑞典当代诗歌中明确针对年轻读者的经典。出版三十年后，由雅典娜·法罗赫扎德和克里斯托夫·福克哈马编辑的另一本诗集《Berör och förstör: Dikter för unga》(影响与毁灭:青春诗歌，2019)出版了。这两本书都借鉴了抒情选集的悠久传统。这两本选集都没有包含主要为年轻读者写的诗歌。相反，这些选集包括来自瑞典抒情经典的诗歌。虽然这两部选集结构相似，主题都是青春、爱情、诗歌和叛逆，但在诗歌形式和对青春的概念上却有很大的不同。本研究的主要理论视角是，选集诗歌的形式可以理解为体裁传统与其特定审美语境相互作用的意识形态表达。本文通过对选集体裁的历史梳理和对不同文本的比较，揭示了编辑选择背后隐藏着成人的青春观念。在寻求(重新)创造新的写作主题的过程中，通过诗歌语言和爱情的反叛力量，青春诗歌的象征形式在两部选集中既挑战又否定了成人的青春观念。
{"title":"Ungdomens poetiska form","authors":"Evelina Stenbeck","doi":"10.14811/clr.v44.633","DOIUrl":"https://doi.org/10.14811/clr.v44.633","url":null,"abstract":"The Poetic Form of Youth: The Rebellious Power of Language and Desire in the Anthologies Kärlek och uppror and Berör och förstör \u0000Siv Widerberg and Anna Artén’s poetry anthology Kärlek och uppror: 210 dikter för unga människor (Love and Rebellion: 210 Poems for Young People, 1989) is something of a classic when it comes to Swedish contemporary poetry explicitly addressing young readers. Thirty years after its publication another poetry anthology, Berör och förstör: Dikter för unga (Affect and Destroy: Poems for Youth, 2019), edited by Athena Farrokhzad and Kristofer Folkhammar, was published. Both books tap into a long tradition of lyrical anthologies. Neither of the anthologies contain poetry written primarily for young readers. On the contrary, the anthologies include poems from the Swedish lyrical canon. Although the two anthologies share a similar structure and joint themes such as youth, love, poetry, and rebellion, they are significantly different in regard to poetic form and the conceptualizations of youth. The main theoretical perspective in this study is that the form of the anthologized poems can be understood as ideological expressions of an interplay between the genre's tradition and its specific aesthetic context. By historizing the genre and comparing the different paratexts of the anthologies, the article shows that adult conceptions of youth hides behind the editorial choices. In a quest to (re)create new writing subjects, through the rebellious powers of poetic language and love, the symbolic form of youth poetry both challenges and negates adult notions of youth in the two anthologies.","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82937312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
”This was supposed to become a poem which someone would remember for a while”: Stage Art as Poetry for Children in the Theatre Performance Snutebiller, stankelben Abstract: Norwegian author Rolf Jacobsen’s (1907–1994) modernist poetry, originally published for adults, has been celebrated for its boldness and innovativeness. In the stage performance Snutebiller, stankelben (Snout Beetle, Crane Fly) by the Norwegian theatre group Fleece & Rouge, four poems by Jacobsen are performed on stage with children as the target audience. This article studies the realization of Jacobsen’s poetry as stage art for children. Transferring the poems from book to stage involves several obvious medial transformations due to the theatre’s specific devices. By drawing theoretical inspiration from Jonathan Culler’s theory of the lyric poem’s ritualistic and fictional qualities, we ask to what degree the performance preserves the poetic qualities in the poems for the child audience. Or rather, does the theatre frame impose dramatic effects on the poems by expanding their element of fiction? The inquiry is also inspired by Margaret Meek’s and Kornej Tjukovskij’s perspectives on the relationship between children and poetic language. There is an amount of risk involved in the task of transferring poetry to the stage. In order to succeed, the actors must embrace the expressive possibilities of the theatre, which in one sense means replacing one genre with another and thus leaving the poetry behind. However, as the analysis of Snutebiller, stankelben demonstrates, the poetic may resurrect in the scenic expression, given that the performance’s embeddedness in and obligation towards the poems are strong enough.
{"title":"”Dette skulle bli et dikt som noen skulle huske en stund”","authors":"Silje Harr Svare, Anne Skaret","doi":"10.14811/clr.v44.601","DOIUrl":"https://doi.org/10.14811/clr.v44.601","url":null,"abstract":"”This was supposed to become a poem which someone would remember for a while”: Stage Art as Poetry for Children in the Theatre Performance Snutebiller, stankelben \u0000Abstract: Norwegian author Rolf Jacobsen’s (1907–1994) modernist poetry, originally published for adults, has been celebrated for its boldness and innovativeness. In the stage performance Snutebiller, stankelben (Snout Beetle, Crane Fly) by the Norwegian theatre group Fleece & Rouge, four poems by Jacobsen are performed on stage with children as the target audience. This article studies the realization of Jacobsen’s poetry as stage art for children. Transferring the poems from book to stage involves several obvious medial transformations due to the theatre’s specific devices. By drawing theoretical inspiration from Jonathan Culler’s theory of the lyric poem’s ritualistic and fictional qualities, we ask to what degree the performance preserves the poetic qualities in the poems for the child audience. Or rather, does the theatre frame impose dramatic effects on the poems by expanding their element of fiction? The inquiry is also inspired by Margaret Meek’s and Kornej Tjukovskij’s perspectives on the relationship between children and poetic language. There is an amount of risk involved in the task of transferring poetry to the stage. In order to succeed, the actors must embrace the expressive possibilities of the theatre, which in one sense means replacing one genre with another and thus leaving the poetry behind. However, as the analysis of Snutebiller, stankelben demonstrates, the poetic may resurrect in the scenic expression, given that the performance’s embeddedness in and obligation towards the poems are strong enough. \u0000 ","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75228094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Making Sense of Nonsense: Readings of Children’s Poetry as Play and Creative Thinking Abstract: Nonsense and meaning are not necessarily conflicting concepts, but can be conceived of as a hendiadys, that is, not opposites, the one or the other, but as one and the other. The idea that meaning and nonsense are related and coexist is a premise for this article, which describes different structures of meaning in the nonsense poetry of Birgitte Krogsbøll and Kamilla Wichmann’s picture book Funkelgnister: Rim, råb og remser (2015, Glittersparks: Rhymes, Roars and Rigmaroles). By linking our analysis of Funkelgnister to Johan Huizinga’s theory of play as a prerequisite for culture, we reveal how the specific structures and logics of the poems generate meaning and thereby we disclose how children’s nonsense poetry is simultaneously meaningful and nonsensical, as a creative thinking akin to culture developed through play and playfulness. We describe how meaning can be sought in three directions, suggested by Gilles Deleuze: above, below and on the surface. In the first case, we consider nonsense as a seductive acoustic phenomenon. In the second, we focus on nonsense poetry as subversive. And finally, in the third case, we show how it is an event. In all, these different aspects demonstrate how nonsense poetry functions as play and challenges our understanding of what it means to read. Following Jurij Lotman’s understanding of pictorial language as creative thinking, we show how nonsense in Funkelgnister opens up a free space by utilizing an in-between, where meaning takes on different forms as signs and sounds, and how the inherent rejection of normative rules of reading in such a venture, initiates a production of meaning as metonymic activity. We thereby highlight how nonsense generates a ground for a creative development of meaning.
摘要:无意义与意义并不一定是相互冲突的概念，而是可以被理解为一种偶合，即不是对立的，不是一个或另一个，而是一个和另一个。本文以意义与无意义相互关联并共存为前提，描述了Birgitte krossbø ll和Kamilla wiichmann的绘本《Funkelgnister: Rim, r b og remser》(2015,Glittersparks: Rhymes, Roars and Rigmaroles)中无意义诗歌的不同意义结构。通过将我们对Funkelgnister的分析与Johan Huizinga的游戏作为文化先决条件的理论联系起来，我们揭示了诗歌的特定结构和逻辑是如何产生意义的，从而我们揭示了儿童的无意义诗歌如何同时具有意义和无意义，作为一种创造性思维，类似于通过游戏和游戏性发展起来的文化。根据吉尔·德勒兹(Gilles Deleuze)的建议，我们描述了如何从三个方向寻找意义:上面、下面和表面。在第一种情况下，我们认为无稽之谈是一种诱人的声音现象。第二，我们把重点放在无意义诗歌的颠覆性上。最后，在第三种情况下，我们说明它是一个事件。总之，这些不同的方面展示了无意义诗歌如何发挥游戏的作用，并挑战了我们对阅读意义的理解。根据Jurij Lotman对图像语言作为创造性思维的理解，我们展示了Funkelgnister中的无意义如何通过利用中间空间打开一个自由的空间，其中意义以不同的形式作为符号和声音，以及如何在这种冒险中对规范阅读规则的固有拒绝，引发了作为转喻活动的意义生产。因此，我们强调无意义是如何为意义的创造性发展创造基础的。
{"title":"Mening med vrøvlet","authors":"Claus K. Madsen, Lea Allouche","doi":"10.14811/clr.v44.605","DOIUrl":"https://doi.org/10.14811/clr.v44.605","url":null,"abstract":"Making Sense of Nonsense: Readings of Children’s Poetry as Play and Creative Thinking \u0000Abstract: Nonsense and meaning are not necessarily conflicting concepts, but can be conceived of as a hendiadys, that is, not opposites, the one or the other, but as one and the other. The idea that meaning and nonsense are related and coexist is a premise for this article, which describes different structures of meaning in the nonsense poetry of Birgitte Krogsbøll and Kamilla Wichmann’s picture book Funkelgnister: Rim, råb og remser (2015, Glittersparks: Rhymes, Roars and Rigmaroles). By linking our analysis of Funkelgnister to Johan Huizinga’s theory of play as a prerequisite for culture, we reveal how the specific structures and logics of the poems generate meaning and thereby we disclose how children’s nonsense poetry is simultaneously meaningful and nonsensical, as a creative thinking akin to culture developed through play and playfulness. We describe how meaning can be sought in three directions, suggested by Gilles Deleuze: above, below and on the surface. In the first case, we consider nonsense as a seductive acoustic phenomenon. In the second, we focus on nonsense poetry as subversive. And finally, in the third case, we show how it is an event. In all, these different aspects demonstrate how nonsense poetry functions as play and challenges our understanding of what it means to read. Following Jurij Lotman’s understanding of pictorial language as creative thinking, we show how nonsense in Funkelgnister opens up a free space by utilizing an in-between, where meaning takes on different forms as signs and sounds, and how the inherent rejection of normative rules of reading in such a venture, initiates a production of meaning as metonymic activity. We thereby highlight how nonsense generates a ground for a creative development of meaning. ","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79943666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Child Readers and Poetry in Tove Jansson’s Picturebook The Book about Moomin, Mymble and Little My Abstract: Tove Jansson’s picturebook Hur gick det sen? Boken om Mymlan, Mumintrollet och lilla My (The Book about Moomin, Mymble and Little My) from 1952 is a book which makes use of its material aspects in many regards, employing the interactivity of the picturebook format to its maximum. Given the fact that it is written in verse, and is considered a classic by all means, it is surprising to find that the function that poetry plays within the book has been scarcely explored in prior research. By examining how the format of this particular picturebook guides the manner in which the child reader experiences it, and by studying the function of poetry within that framework, the article shows that poetry potentially plays a vital role in how child readers make sense of it. In particular, the role of poetry manifests itself as an opportunity for child readers to – at their own pace, and in their own manner – deal with the delicate balance between the attachmentseeking struggles of the anxious character of Moomin, on the one hand, and the exploratory individuation of the adventurous character of Little My, on the other. Through these examinations, the article demonstrates how the use of poetry can facilitate an emancipatory opportunity for child readers within picturebooks – and how this potential is ever-present within the format and the reading situation of picturebooks for children in general.
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{"title":"Erik Zillén, Fabelbruk i svensk modernitet: En genrehistorisk studie","authors":"Philip Lavender","doi":"10.14811/clr.v44.611","DOIUrl":"https://doi.org/10.14811/clr.v44.611","url":null,"abstract":"Review/Recension","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83466510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Humour in Two Contemporary Norwegian Poetry Picturebooks: Pling i bollen and 123 for barske barn Abstract: This article examines visual and verbal humour in two contemporary Norwegian poetry picturebooks for children. The main aim is to study how different types of humour and various poetic devices are expressed through the interplay of words and images. Moreover, the article discusses in which ways the two books represent a continuation and a renewal of classic humour traditions. The theoretical framework mainly consists of intermedial theory, picturebook theory, children’s poetry studies, and studies on literary humour traditions such as nonsense, parody, and the Bakhtinian carnivalesque. The selected books are Pling i bollen: Fine og ufine barnerim (Off One’s Chump: Delicate and Indelicate Children’s Verses) from 2011 by Ingvild Rishøi and Bendik Kaltenborn and 123 for barske barn: Tull med tall (123 for Rough Children: Nonsense with Numbers) from 2020 by Anne Østgaard and Egil Nyhus. The analyses point to examples of both playful and sophisticated interactions between poems and illustrations, suggesting that the picturebook medium includes more diverse combinations of visual and verbal humour compared to traditional illustrated poetry books. In addition, the various types of humour appear to be wilder and coarser than in classic children’s poetry. 123 for barske barn combines pedagogical and aesthetic qualities by featuring nonsense and carnivalesque humour with numbers, while Pling i bollen offers an even wider range of humour by combining satire, parody, and sophisticated nonsense with more playful and carnivalesque qualities. These compounds of humour tend to transgress the classic genre of children’s verse and to include a cross-generational audience.
摘要:本文考察了两本当代挪威诗歌儿童绘本中的视觉幽默和言语幽默。主要目的是研究不同类型的幽默和不同的诗歌手段是如何通过文字和图像的相互作用来表达的。此外，本文还讨论了这两本书在哪些方面代表了经典幽默传统的延续和更新。理论框架主要包括中介理论、绘本理论、儿童诗研究以及对文学幽默传统的研究，如胡言乱语、戏仿和巴赫金式的狂欢式。入选的书籍包括英格维尔德·里什约伊和本迪克·卡尔滕伯恩2011年出版的《好孩子:精致和粗俗的儿童诗歌》，以及安妮·Østgaard和伊吉尔·尼胡斯2020年出版的《粗野的孩子:无数字的废话》。分析指出了诗歌和插图之间既有趣又复杂的相互作用的例子，表明与传统的插图诗歌书相比，绘本媒介包括更多不同的视觉和口头幽默组合。此外，各种类型的幽默似乎比经典儿童诗歌更加狂野和粗俗。barske barn的《123》结合了教学和美学的特点，以无意义和狂欢式的幽默与数字相结合，而Pling i bollen则通过将讽刺、戏仿和复杂的无意义与更有趣和狂欢式的品质相结合，提供了更广泛的幽默。这些混合的幽默倾向于超越儿童诗歌的经典体裁，并包括跨代观众。
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{"title":"Tuva Haglund, Tillsammans i Engelsfors: Socialt fiktionsbruk i Engelsforstrilogins digitala fangemenskap 2011–2016","authors":"M. Isaksson","doi":"10.14811/clr.v44.597","DOIUrl":"https://doi.org/10.14811/clr.v44.597","url":null,"abstract":"Review/Recension","PeriodicalId":52259,"journal":{"name":"Barnboken","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74479439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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