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Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving
Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons <em>Romanen om Olof</em> [Elektronisk resurs]
No full textJohan Klingborg, Department of Culture and Aesthetics, Stockholm University The Author at Work: The Projection Room as Heterotopia in Eyvind Johnson’s The Novel about Olof (Författaren i arbete. Biografens maskinrum som heterotopi i Eyvind Johnsons Romanen om Olof) The sociological understanding of Swedish proletarian literature usually goes like this: in order to become a working class author the ‘proletarian’ writer paradoxically needs to abandon labor. While Eyvind Johnson’s four-part autobiographical Künstlerroman The Novel about Olof (1934–37) at first glance appears to follow that trajectory, this article shows how a particular line of work—namely, the work as a projectionist—in fact plays a fundamental role in the protagonist’s development towards writerly consciousness. The article takes as its point of departure the pivotal closing sequence of the third part, in which Olof, employed as a projectionist, starts to read an edition of the Odyssey during the screening of a film. Through a media-archaeological analysis of that scene, the article argues that Olof is reading in the projection room because historically it has functioned precisely as a space for reading. Not only was the projection room secluded and out of reach from the mechanisms of perception control in the auditorium; it also granted a livelihood without claiming all of the worker’s attention. In the words of Michel Foucault, the projection room can thus be regarded as a heterotopia—i.e. a space that simultaneously stands in relation to, and inverts, the power dynamics of all other spaces—both with regard to the cinema building and to capitalist society at large. The article shows how Olof ’s willingness and ability to read is indeed connected to his access to this heterotopian space for reading. Moreover, it argues that Olof is reading the Odyssey specifically because the Homeric epic is analogous to the tasks of the projectionist. The repetitive labor of the projectionist makes them a Penelope figure: the former is repeatedly winding and rewinding, while the latter is continually weaving and unweaving.</p
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Lockande ljus. Biografarkitektur och elektrisk belysning i Karin Boyes Astarte
No full textFå romaner i svensk modernistisk litteratur skildrar den urbana moderniteten med sådan medvetenhet om samtida idéströmningar som Karin Boyes Astarte (1931). Men om Boyes roman handlar om moderniteten så är den också teknologiskt villkorliggjord av densamma. Artikelns syfte är att blottlägga dessa mediehistoriska villkor genom en undersökning av romanen utifrån den ljus- och uppmärksamhetsregim – en syntes av begrepp av Jonathan Crary och Gilles Deleuze – som framträdde omkring 1930 till följd av det elektriska ljusets genombrott i urbaniteten och en arkitektonisk strukturomvandling av biografen. Skyltfönsterbelysning, ljusreklamer, neonskyltar och de nya biografpalatsens avancerade ljusspel bidrog vid den här tiden till en ökad styrning av människors perception och rörelsemönster, och artikeln visar hur denna regim strukturerar den kritik av konsumtionssamhället och masskulturen som gestaltas i romanen.Few novels in Swedish modernist literature depicting urban modernity equal Karin Boye’s Astarte (1931) in theoretical awareness. However, while modernity may be the subject of the novel, Astarte itself is also conditioned by the technologies of its time period. The objective of this article is to uncover these media-historical conditions. It does so by examining the novel from the perspective of the regime of light and attentiveness – a concept derived from the writings of Jonathan Crary and Gilles Deleuze – which emerged around 1930 due to the establishment of the movie palace and the breakthrough of electric light in the urban environment. Shop window lighting, neon signs, and the sophisticated light projections of the movie palace all contributed to an increased control over human perception and movement, and the article shows how this regime organizes the critique of consumer society and mass culture depicted in the novel
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
1800-talslitteraturen från mediernas perspektiv : Om Frode Lerum Boasson, Anders Skare Malvik, Silje Haugen Warberg (red.): Det mediale gjennombruddet: Medieestetiske lesninger av det sene 1800-tallets litteratur
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