Folia Scandinavica Posnaniensia
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Språk som tema och stoff i Katarina Frostensons diktning
No full textLanguage plays a very important role in Katarina Frostenson’s works, being not only the stuff, but also one of the leading subjects. Her literary production is strongly metapoetical and metalinguistic. Frostenson’s views on language have much in common with poststructuralism and deconstruction when she maintains that language is insufficient to describe the world and that consequently, the world is falsified by language. However, contrary to poststructuralists and postmodernists for whom, actually, nothing exists beyond the text, she believes that beyond language there is something like an objective reality, some kind of truth, and what’s more, she believes that it is possible to describe this reality if one can find a suitable language. In her works she tries to seek such a language, for example by going back to the primitive - both childish and archaic - kind of language. This article deals both with Frostenson’s views on language as expressed in her texts, and with how, in consequence, she treats and uses the language in practice
Laxness’s wives tell their stories
Get PDFNo twentieth-century Icelandic author has enjoyed success and popularity to rival that of Halldor Laxness. At the end of his writing career, Laxness wrote four books which he called “novels in essay form” or essais-romans, but which are generally considered to be memoirs, written with artistic licence. These books are: 7 tuninu heima (In the Field at Home) (1975), tJngur eg var (Young was I) (1976), Sjomeistarasagan (The Story of Seven Masters) (1978), and Grikklandsarid (The Year of Greece) (1980). They cover only a fraction of the author’s life, up to the age of twenty. Readers have learned of his subsequent experiences mostly through countless articles and interviews in the press, on radio and television. Laxness has, at least since winning the Nobel Prize for Literature in 1955, been a public personality, although he has been reticent about his private life
Jóhann Jónsson – ein isländischer Dichter in Deutschland
No full textThis article gives a summary of the life and the work of the Icelandic poet Johann Jonsson (1896-1932), who had lived in Leipzig since 1921 and also died there. To this end, published and unpublished letters by the poet are evaluated on a large scale. In the appendix, two of his most important works, the poem “SoknuSur” and the prose fragment “Nott i Riesental”, are presented in a German translation
„Selv Raadhustaarnet hotter sin Solo.“ – Zur Thematisierung des Jazz in der dänischen Großstadtdichtung der Zwischenkriegszeit
Get PDFAdjektivische Zusammenbildungen im Dänischen
Get PDFThe purpose of this short article is to present adjectival compositional-derivational word-formations (= samdannelser) in contemporary Danish with regard to their structure, morphology and partly their semantics. There are different interpretations of the notion “samdannelser” in Danish scholarly literature. My point of reference is Paul Diderichsen’s description of this term. This description is based on a morphological analysis. A few types of structures are presented and some morphological phenomena and changes concerning the individual examples are described
Faulheit Verboten“ — Zeitkritik bei Hallgrfmur Petursson und Stefan Ólafsson
Get PDFThis article discusses works by Icelandic baroque poets Hallgrimur Petursson (1614-1674) and Stefan Ólafsson (1619-1667) that are critical of contemporary issues, also taking into account their 17lh-century historical background. Both poets were pastors and found ample occasion for criticizing the moral, economic and political state of affairs in their country. In particular, the poems “Passiusalmar” and “Aldarhittur" by Hallgrimur Péursson, among others, as well as “Danskurinn”, “Um fyrri og |)essa old” and “Ómennskukvae5i” by Stefan Olafsson are presented and analyzed with respect to content and form
Die finnische Kinder- und Jugendliteratur und ihre Präsens in Polen
Get PDFIn the article the authors presented the chosen aspects of the works of Katri Vala, one of the most interesting Finnishspeaking poets in the 1920s and 30s. She was part of the Nuori voima (Youth power) group, formed by young Finnish poets and writers, and later of the Tulenkantajat (The Torch Bearers). Her early poems are marked by the modernist tendencies which prevailed in the Sweedish-language poetry in Finland, foremost in the works of Edith Sodergran. The new way of writing, which Katri Vala perceived as something natural and coming from her heart, was never difficult for her and she never elaborated on it in theory. The poems written by Katri Vala are considered to be a modernist breakthrough in the poetry written in Finnish. The author, however, did not strive to substitute the whole of the Finnish writing until then, but rather to gain an equal status for the new poetry. Her attempt, as well as those of her colleagues, was unsuccessful in the 1920s and 30s
