From A to U—these are the short biographies of MaMo’s twenty contributors; in alphabetical order.
从A到u，这是《MaMo》的20位撰稿人的简短传记;按字母顺序。
{"title":"List of Contributors","authors":"MaMo’s editors","doi":"10.7557/13.5023","DOIUrl":"https://doi.org/10.7557/13.5023","url":null,"abstract":"From A to U—these are the short biographies of MaMo’s twenty contributors; in alphabetical order.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85938724","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}
Through two case studies, this article will explore how Norwegian news media framed the Norwegian military presence in Syria. Earlier research by the author has shown how the legal aspects of NATO’s out-of-area operations have been ignored by mainstream media. In this study, emphasis will be put on self-censorship among Norwegian journalists, ignoring the fact that Norwegian special forces took part in military operations inside Syria from May 2017 to March 2018. The hypothesis based on Johan Galtung’s (2002) theory of peace journalism is that mainstream media refused to see the connection between Norway’s bombing of Libya and the escalation of the ‘civil war’ in Syria. According to legal experts, the Norwegian military presence in Syria was a violation of international law, as it supported rebel groups in armed confrontation with the Assad government, recognized by the Norwegian state through diplomatic relations. The hypothesis of the study—based on an explorative investigation of selected Norwegian news media—is that Norwegian politicians, silently supported by the media, have changed basic principles of Norwegian security policy without an open public debate. Before 1999, Norway was a loyal NATO member based on the notion that NATO was a ‘defense alliance’. After the change in NATO strategy to the new out-of-area policy, Norway has in practice become a ‘military tool’ in the geopolitical strategy of the US. This change of policy has, to a large extent, happened without critical investigation by mainstream media. The article presents two case studies of how Norwegian media dealt with the legal issues when Norway was asked to contribute in Syria, and how the Norwegian military presence was reported by Norwegian media in the periods December 2015 to January 2016, as well as May 2017 to March 2018.
{"title":"Norway’s New(s) Wars—Syria in the Norwegian Mass Media","authors":"Rune Ottosen","doi":"10.7557/13.5017","DOIUrl":"https://doi.org/10.7557/13.5017","url":null,"abstract":"Through two case studies, this article will explore how Norwegian news media framed the Norwegian military presence in Syria. Earlier research by the author has shown how the legal aspects of NATO’s out-of-area operations have been ignored by mainstream media. In this study, emphasis will be put on self-censorship among Norwegian journalists, ignoring the fact that Norwegian special forces took part in military operations inside Syria from May 2017 to March 2018. The hypothesis based on Johan Galtung’s (2002) theory of peace journalism is that mainstream media refused to see the connection between Norway’s bombing of Libya and the escalation of the ‘civil war’ in Syria. According to legal experts, the Norwegian military presence in Syria was a violation of international law, as it supported rebel groups in armed confrontation with the Assad government, recognized by the Norwegian state through diplomatic relations. The hypothesis of the study—based on an explorative investigation of selected Norwegian news media—is that Norwegian politicians, silently supported by the media, have changed basic principles of Norwegian security policy without an open public debate. Before 1999, Norway was a loyal NATO member based on the notion that NATO was a ‘defense alliance’. After the change in NATO strategy to the new out-of-area policy, Norway has in practice become a ‘military tool’ in the geopolitical strategy of the US. This change of policy has, to a large extent, happened without critical investigation by mainstream media. The article presents two case studies of how Norwegian media dealt with the legal issues when Norway was asked to contribute in Syria, and how the Norwegian military presence was reported by Norwegian media in the periods December 2015 to January 2016, as well as May 2017 to March 2018.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82824029","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}
In 2014, Marvel comics introduced a new character to take over the mantle of the superhero identity Ms. Marvel. The new heroine is Kamala Khan, a 16-year-old girl born and raised in New Jersey. Khan is Marvel’s first Pakistani-American, Muslim superhero to headline her own comic book; as such, she represents a move towards diversification in a historically conservative, white and masculine genre. In addition, Kamala Khan comes into existence in a political and social context where the 9/11 attacks, the ‘War on Terror’, and Islamophobia continue to reverberate. This article explores how the Ms. Marvel comic functions as a critique of the ways in which social norms, stereotypes and prejudices have monsterized multicultural, Muslim identities, especially in the years following 9/11. Conducting analyses of Khan’s conflicted relationship to her own identities and issues concerning visibility and concealment, I explore how these negative framings affect her self-perception, and in turn her self-representation. Lastly, I aim to illustrate the ways in which the comic challenges monolithic and monstrous representations of Islam through its depiction of diverse, multicultural, Muslim identities.
{"title":"Yes, We Khan—Diversity and De-Monsterization of Muslim Identities in Ms. Marvel (2014–)","authors":"Anja Borg Andreassen","doi":"10.7557/13.5005","DOIUrl":"https://doi.org/10.7557/13.5005","url":null,"abstract":"In 2014, Marvel comics introduced a new character to take over the mantle of the superhero identity Ms. Marvel. The new heroine is Kamala Khan, a 16-year-old girl born and raised in New Jersey. Khan is Marvel’s first Pakistani-American, Muslim superhero to headline her own comic book; as such, she represents a move towards diversification in a historically conservative, white and masculine genre. In addition, Kamala Khan comes into existence in a political and social context where the 9/11 attacks, the ‘War on Terror’, and Islamophobia continue to reverberate. This article explores how the Ms. Marvel comic functions as a critique of the ways in which social norms, stereotypes and prejudices have monsterized multicultural, Muslim identities, especially in the years following 9/11. Conducting analyses of Khan’s conflicted relationship to her own identities and issues concerning visibility and concealment, I explore how these negative framings affect her self-perception, and in turn her self-representation. Lastly, I aim to illustrate the ways in which the comic challenges monolithic and monstrous representations of Islam through its depiction of diverse, multicultural, Muslim identities.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88378067","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 article suggests supplementing Astrid Erll’s framework for analysis of memory making media with key insights from Herman and Chomsky’s propaganda model. An analysis of the documentary The Battle for Hitler’s Supership that portrays the story of the German battleship Tirpitz, which the British Royal Air Force sunk in Tromsø in 1944, will illustrate the benefits of this approach. The combination of a formal analysis with an examination of the structural conditions that predispose the medium’s appearance provide valuable insights into how and why a specific dominant message that is conveyed by the documentary emerges. I show that the political economy behind the TV production has an impact on the documentary’s content and form and argue that the evolving narrative not only depicts a story about the specific events of November 1944 but also about current national self-perceptions and self-presentations.
{"title":"Exploring Cultural Memory Through Political Economy—Manufacturing History in the Documentary The Battle for Hitler’s Supership (2005)","authors":"Juliane C. Bockwoldt","doi":"10.7557/13.5010","DOIUrl":"https://doi.org/10.7557/13.5010","url":null,"abstract":"This article suggests supplementing Astrid Erll’s framework for analysis of memory making media with key insights from Herman and Chomsky’s propaganda model. An analysis of the documentary The Battle for Hitler’s Supership that portrays the story of the German battleship Tirpitz, which the British Royal Air Force sunk in Tromsø in 1944, will illustrate the benefits of this approach. The combination of a formal analysis with an examination of the structural conditions that predispose the medium’s appearance provide valuable insights into how and why a specific dominant message that is conveyed by the documentary emerges. I show that the political economy behind the TV production has an impact on the documentary’s content and form and argue that the evolving narrative not only depicts a story about the specific events of November 1944 but also about current national self-perceptions and self-presentations.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78947873","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 article explores the manufacturing of monsters in video games, using the case of the influential 2007 first-person shooter BioShock, and ‘splicers’—its most numerous, zombie-like enemies. I combine two methodological perspectives on the ‘manufacturing’ of splicers by analyzing [a] the title’s developer commentary and other official paratexts to trace the design of splicers, and [b] the game’s embedded narrative to reconstruct the diegetic backstory of splicers. I argue that video game enemies, including splicers, are ‘computational others’, who may appear human on the level of representation, but whose behavior is machinic, and driven by computational algorithms. To justify the paradoxical relationship between their human-like representation and machinic behavior, BioShock includes an elaborate narrative that explains how the citizens of the underwater city of Rapture were dehumanized and transformed into hostile splicers. The narrative of dehumanization, explored following Haslam’s dehumanization theory (2006), includes [a] transforming splicers into atomized creatures by depriving them of political power and social bonds, [b] creating fungible and interchangeable enemies through splicers’ masks and bodily disintegration, [c] justifying splicers’ blindness to context and their simplistic behavior by portraying them as mentally unstable addicts. The article concludes that all video game enemies are inherently monstrous, and that critique of video game representation should focus on how games fail to make monsters human, rather than how games render humans monstrous or dehumanized.
{"title":"Always Already Monsters—BioShock’s (2007) ‘Splicers’ as Computational Others","authors":"Jaroslav Švelch","doi":"10.7557/13.5015","DOIUrl":"https://doi.org/10.7557/13.5015","url":null,"abstract":"The article explores the manufacturing of monsters in video games, using the case of the influential 2007 first-person shooter BioShock, and ‘splicers’—its most numerous, zombie-like enemies. I combine two methodological perspectives on the ‘manufacturing’ of splicers by analyzing [a] the title’s developer commentary and other official paratexts to trace the design of splicers, and [b] the game’s embedded narrative to reconstruct the diegetic backstory of splicers. I argue that video game enemies, including splicers, are ‘computational others’, who may appear human on the level of representation, but whose behavior is machinic, and driven by computational algorithms. To justify the paradoxical relationship between their human-like representation and machinic behavior, BioShock includes an elaborate narrative that explains how the citizens of the underwater city of Rapture were dehumanized and transformed into hostile splicers. The narrative of dehumanization, explored following Haslam’s dehumanization theory (2006), includes [a] transforming splicers into atomized creatures by depriving them of political power and social bonds, [b] creating fungible and interchangeable enemies through splicers’ masks and bodily disintegration, [c] justifying splicers’ blindness to context and their simplistic behavior by portraying them as mentally unstable addicts. The article concludes that all video game enemies are inherently monstrous, and that critique of video game representation should focus on how games fail to make monsters human, rather than how games render humans monstrous or dehumanized.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"320 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80206157","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 article examines examples of the monstrous-feminine in the form of abject maternal monsters in a selection of commercially successful and critically acclaimed mainstream video games using conceptual frameworks and textual analysis methods established in the work of Julia Kristeva and Barbara Creed. The Broodmother from Dragon Age: Origins (2009) and the Mother from Dragon Age: Origins—Awakening (2010) are considered as problematic examples of the abject monstrous-feminine which fall into a long tradition in horror media of framing the female body and the birthing process as something horrific and repulsive. Kerrigan from the StarCraft series (1998–2017) is examined as a possible counter-example, demonstrating that the monstrous-feminine can exist in a playable and potentially empowered form, though she is problematically empowered within a violent, militant framework. Overall, this article critically analyses the ways in which video games remediate tropes of gendered monstrosity and reinforce the misogynist norms and values of hegemonic heteropatriarchal ideology by forcing players to enact symbolic violence against transgressive female bodies.
{"title":"The Broodmother as Monstrous-Feminine—Abject Maternity in Video Games","authors":"Sarah Stang","doi":"10.7557/13.5014","DOIUrl":"https://doi.org/10.7557/13.5014","url":null,"abstract":"This article examines examples of the monstrous-feminine in the form of abject maternal monsters in a selection of commercially successful and critically acclaimed mainstream video games using conceptual frameworks and textual analysis methods established in the work of Julia Kristeva and Barbara Creed. The Broodmother from Dragon Age: Origins (2009) and the Mother from Dragon Age: Origins—Awakening (2010) are considered as problematic examples of the abject monstrous-feminine which fall into a long tradition in horror media of framing the female body and the birthing process as something horrific and repulsive. Kerrigan from the StarCraft series (1998–2017) is examined as a possible counter-example, demonstrating that the monstrous-feminine can exist in a playable and potentially empowered form, though she is problematically empowered within a violent, militant framework. Overall, this article critically analyses the ways in which video games remediate tropes of gendered monstrosity and reinforce the misogynist norms and values of hegemonic heteropatriarchal ideology by forcing players to enact symbolic violence against transgressive female bodies.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73645976","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}
C. Beyer, Juliane C. Bockwoldt, E. Hammar, H. Pötzsch
To you, dear reviewers: Your monstrous support was, as so often, unpaid—but valuable indeed. The energy you have put together in writing your thorough reviews substantially helped in shaping and re-shaping (and sometimes even re-re-shaping) the wonderful scientific endeavors of our authors. Thank you so much!
{"title":"Taming the Monster Journal—A Hug to the Numerous Reviewers","authors":"C. Beyer, Juliane C. Bockwoldt, E. Hammar, H. Pötzsch","doi":"10.7557/13.5022","DOIUrl":"https://doi.org/10.7557/13.5022","url":null,"abstract":"To you, dear reviewers: Your monstrous support was, as so often, unpaid—but valuable indeed. The energy you have put together in writing your thorough reviews substantially helped in shaping and re-shaping (and sometimes even re-re-shaping) the wonderful scientific endeavors of our authors. Thank you so much!","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84856648","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 article examines the Norwegian scholarly report titled NOU 2017:2—Integration and Trust: Long-Term Consequences of High Immigration (English translation; chapter 1.1) to unpack how ‘non-European immigrants’ are constructed as an economic and social challenge for the welfare state. Principles from discourse theory (DT) and the conceptual framework of othering are applied to discuss how the designation of this category of people as objects of qualification/integration may serve to reify racialized relations of inferiorized difference between white Norwegian majorities and societal newcomers from the Global South. The author tracks this dynamic to a discourse in which the relationship between the Norwegian state and immigrants from countries outside of Europe is organized as a binary opposition between a vulnerable self and an overwhelming, inherently faceless ‘other’. It is suggested that the othering enabled in the NOU (Norges Offentlige Utredninger) report can be viewed as a specific production of monstrosity: a horror-vision of a failing, unintegrated welfare state that needs safeguarding against abnormal, ‘huge waves’ of immigrants from ‘further south’. The argument is finally presented that the report’s vision of integration, by being coded with the logic of presenting a necessary response to an existential threat to welfare state structures, engenders a precarious form of social distancing that is theorized as solution-based othering.
{"title":"The Costly and Demanding—Exploring Solution-Based Othering of ‘Non-European Immigrants’ in Norwegian Policy Recommendations","authors":"Søren Mosgaard Andreasen","doi":"10.7557/13.5018","DOIUrl":"https://doi.org/10.7557/13.5018","url":null,"abstract":"This article examines the Norwegian scholarly report titled NOU 2017:2—Integration and Trust: Long-Term Consequences of High Immigration (English translation; chapter 1.1) to unpack how ‘non-European immigrants’ are constructed as an economic and social challenge for the welfare state. Principles from discourse theory (DT) and the conceptual framework of othering are applied to discuss how the designation of this category of people as objects of qualification/integration may serve to reify racialized relations of inferiorized difference between white Norwegian majorities and societal newcomers from the Global South. The author tracks this dynamic to a discourse in which the relationship between the Norwegian state and immigrants from countries outside of Europe is organized as a binary opposition between a vulnerable self and an overwhelming, inherently faceless ‘other’. It is suggested that the othering enabled in the NOU (Norges Offentlige Utredninger) report can be viewed as a specific production of monstrosity: a horror-vision of a failing, unintegrated welfare state that needs safeguarding against abnormal, ‘huge waves’ of immigrants from ‘further south’. The argument is finally presented that the report’s vision of integration, by being coded with the logic of presenting a necessary response to an existential threat to welfare state structures, engenders a precarious form of social distancing that is theorized as solution-based othering.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"75 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74996684","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}
What can the taming of the monster reveal about its construction and the potential and limits of change? Modernist, individualist qualities of Western culture and society have shaped the construction and deconstruction of the monster in popular culture in general and film in particular. The idea of an historically emergent human nature and its associated norms is key to the construction of the monster as transgressive. Less obvious but nonetheless apparent is the constraining role this Western construction of human nature continues to play in recent cinematic attempts to approach the monster more closely. These are explored through a consideration of vampire movies within the horror genre, with a focus on Interview with the Vampire (dir. Neil Jordan, 1994), as arguably both influential within and emblematic of a more general trend. The film dismantles the conventional monster figure of the vampire, humanising her by detailing her transposition from a natural, human setting to something otherworldly. Human (read as Western) qualities are reinforced and salvaged from the disturbing ambivalence of conventional monstrosity, as we observe the logic of ‘human’ adaptation to alien conditions. In this way, both the paradoxical model of freedom as conformity to nature and the naturalising reification of contingent social groupings are re-affirmed.
{"title":"Tamed Monsters and Human Problems in Cinema’s Interview with the Vampire (1994)","authors":"P. Robinson","doi":"10.7557/13.5007","DOIUrl":"https://doi.org/10.7557/13.5007","url":null,"abstract":"What can the taming of the monster reveal about its construction and the potential and limits of change? Modernist, individualist qualities of Western culture and society have shaped the construction and deconstruction of the monster in popular culture in general and film in particular. The idea of an historically emergent human nature and its associated norms is key to the construction of the monster as transgressive. Less obvious but nonetheless apparent is the constraining role this Western construction of human nature continues to play in recent cinematic attempts to approach the monster more closely. These are explored through a consideration of vampire movies within the horror genre, with a focus on Interview with the Vampire (dir. Neil Jordan, 1994), as arguably both influential within and emblematic of a more general trend. The film dismantles the conventional monster figure of the vampire, humanising her by detailing her transposition from a natural, human setting to something otherworldly. Human (read as Western) qualities are reinforced and salvaged from the disturbing ambivalence of conventional monstrosity, as we observe the logic of ‘human’ adaptation to alien conditions. In this way, both the paradoxical model of freedom as conformity to nature and the naturalising reification of contingent social groupings are re-affirmed.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80187611","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 idea of rounding up our special issue in this way came to us while harmonizing all the bibliographical entries into one pattern. We have tried as best as we could to double-check each single source. Sometimes, names that we have never heard before appeared over and over again, in multiple contributions. Somewhere on this planet, different scholars had come across the same readings. We simply wanted to underline this complex, interwoven net of border-crossing–border-creating literature. As editors from different fields, we have learned of many intriguing discourses that were unknown to us before. Quite often, shared literature lists make visible certain symptoms of academic echo chambers, copy-paste works, or self-referencing networks. Shared foundational texts serve as sense-making tool kits to the members of so-called ‘fields’, and give a hint at somehow negotiated vocabulary within them. Yet, what we have in front of us is an example of an interdisciplinary collaboration of writers. Since our special issue had an ‘open call’, many of our collaborators do not even know each other personally. Yet, in the end, it was possible to build bibliographical bridges between all of them—every single contribution has at least one theoretical link to another article. This way, it is possible to theoretically unite our work, and consider it as (part of) a whole. A Meta Bibliography of Some Sort—Bridging MaMo’s BibliographiesIn short, we consider as a bibliographical bridge the shared bibliographical reference to a particular work or to a particular person by at least two of our issue’s authors. If some of our authors refer to ‘writer A’, an imaginary bridge is being created between their contributions—oftentimes unconsciously. These bridges become even more intriguing when noticing that numerous authors independently investigated the identical ‘work B’, without even knowing that another contributor did so as well. Our overview is based on a close examination of all roughly 1000 bibliographical entries in this special issue. It may not be free from errors. For the detailed references, see each contributor’s bibliography individually.
{"title":"Taming the Journal Monster—Building Bibliographical Bridges","authors":"C. Beyer","doi":"10.7557/13.5024","DOIUrl":"https://doi.org/10.7557/13.5024","url":null,"abstract":"The idea of rounding up our special issue in this way came to us while harmonizing all the bibliographical entries into one pattern. We have tried as best as we could to double-check each single source. Sometimes, names that we have never heard before appeared over and over again, in multiple contributions. Somewhere on this planet, different scholars had come across the same readings. We simply wanted to underline this complex, interwoven net of border-crossing–border-creating literature. As editors from different fields, we have learned of many intriguing discourses that were unknown to us before. Quite often, shared literature lists make visible certain symptoms of academic echo chambers, copy-paste works, or self-referencing networks. Shared foundational texts serve as sense-making tool kits to the members of so-called ‘fields’, and give a hint at somehow negotiated vocabulary within them. Yet, what we have in front of us is an example of an interdisciplinary collaboration of writers. Since our special issue had an ‘open call’, many of our collaborators do not even know each other personally. Yet, in the end, it was possible to build bibliographical bridges between all of them—every single contribution has at least one theoretical link to another article. This way, it is possible to theoretically unite our work, and consider it as (part of) a whole. \u0000A Meta Bibliography of Some Sort—Bridging MaMo’s BibliographiesIn short, we consider as a bibliographical bridge the shared bibliographical reference to a particular work or to a particular person by at least two of our issue’s authors. If some of our authors refer to ‘writer A’, an imaginary bridge is being created between their contributions—oftentimes unconsciously. These bridges become even more intriguing when noticing that numerous authors independently investigated the identical ‘work B’, without even knowing that another contributor did so as well. Our overview is based on a close examination of all roughly 1000 bibliographical entries in this special issue. It may not be free from errors. For the detailed references, see each contributor’s bibliography individually.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"409 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77626984","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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