429 research outputs found
Gyllenstens radikala metafiktion
No full textIngeborg Löfgren, Gyllenstens radikala metafiktion. (The Radical Metafiction of Gyllensten.) Lars Gyllensten (1921–2006) is often purported to be a role-playing author who hides behind his fictitious characters and story-tellers, never to be caught presenting his own personal views in his literary writings. Yet Gyllensten-scholars usually put great effort into finding out just how Gyllensten is to be understood in his dialectical authorship, what he wants to express with his fictitious works, and the particular roles he uses. In this article, I want to claim that there is a severe conflict within the role-concept itself: on the one hand, it is seen as a tool to separate the empirical Gyllensten from the text’s story-teller or “author”, and, on the other, it is also seen as a method used by Gyllensten to deal with his own (personal) existential, moral and epistemological concerns. In my view, it is also due to the scholars faithful application and use of Gyllensten’s theoretical vocabulary (in particular, his selfcontradictory role-concept), presented in his generous literary comments and remarks, that some of his most interesting texts have remained unacknowledged and unexplored – his radical metafiction. This article is concerned with three tasks, carried out respectively: a theoretical examination of the concepts of fiction and metafiction, a critical survey of previous author-intentionalist Gyllensten-research, and the demonstration and analysis of five of Gyllensten’s radically metafictional texts. Among the texts I deal with in the present study – ”Not” from Moderna myter (1949), ”Not” from Det blå skeppet (1950), ”On dit” and ”Au revoir” from Desperados (1962), ”Intervju med pseudonymen ’Sören Kierkegaard’”(1963) from Nihilistiskt credo (1964) and finally Diarium spirituale. Roman om en röst (1968) – four have previously been taken as genuine commentaries by Gyllensten, and used as such. And despite the fact that the fifth, Diarium spirituale, has been to some extent recognized as a “meta-novel”, this has not prevented it from being used as an exegetical commentary as well. This shows how difficult, not to say impossible, it is to detect the special and complex character of radical metafiction in the works of Lars Gyllensten, while staying within the framework of the role-concept. Radical metafiction consists of mutually contradictory features, the fictional and the authentic, which mix in such a way that the complete text neither can be identified as truly fictional nor as really authentic. To the author-intentionalist in search of “keys to interpretation”, these texts will always temptingly resemble pure commentary – which they are not. This will be evident when we see how the radical metafiction of Lars Gyllensten actually resists the author-intentionalist readings
Gyllenstens radikala metafiktion [Elektronisk resurs]
No full textIngeborg Löfgren, Gyllenstens radikala metafiktion. (The Radical Metafiction of Gyllensten.) Lars Gyllensten (1921–2006) is often purported to be a role-playing author who hides behind his fictitious characters and story-tellers, never to be caught presenting his own personal views in his literary writings. Yet Gyllensten-scholars usually put great effort into finding out just how Gyllensten is to be understood in his dialectical authorship, what he wants to express with his fictitious works, and the particular roles he uses. In this article, I want to claim that there is a severe conflict within the role-concept itself: on the one hand, it is seen as a tool to separate the empirical Gyllensten from the text’s story-teller or “author”, and, on the other, it is also seen as a method used by Gyllensten to deal with his own (personal) existential, moral and epistemological concerns. In my view, it is also due to the scholars faithful application and use of Gyllensten’s theoretical vocabulary (in particular, his selfcontradictory role-concept), presented in his generous literary comments and remarks, that some of his most interesting texts have remained unacknowledged and unexplored – his radical metafiction. This article is concerned with three tasks, carried out respectively: a theoretical examination of the concepts of fiction and metafiction, a critical survey of previous author-intentionalist Gyllensten-research, and the demonstration and analysis of five of Gyllensten’s radically metafictional texts. Among the texts I deal with in the present study – ”Not” from Moderna myter (1949), ”Not” from Det blå skeppet (1950), ”On dit” and ”Au revoir” from Desperados (1962), ”Intervju med pseudonymen ’Sören Kierkegaard’”(1963) from Nihilistiskt credo (1964) and finally Diarium spirituale. Roman om en röst (1968) – four have previously been taken as genuine commentaries by Gyllensten, and used as such. And despite the fact that the fifth, Diarium spirituale, has been to some extent recognized as a “meta-novel”, this has not prevented it from being used as an exegetical commentary as well. This shows how difficult, not to say impossible, it is to detect the special and complex character of radical metafiction in the works of Lars Gyllensten, while staying within the framework of the role-concept. Radical metafiction consists of mutually contradictory features, the fictional and the authentic, which mix in such a way that the complete text neither can be identified as truly fictional nor as really authentic. To the author-intentionalist in search of “keys to interpretation”, these texts will always temptingly resemble pure commentary – which they are not. This will be evident when we see how the radical metafiction of Lars Gyllensten actually resists the author-intentionalist readings.</p
Skuggspel. Mellan bildkritik och ikonestetik i Lars Gyllenstens författarskap A play of shadows. Image Critique and Icon Aesthetics in the works of Lars Gyllensten
No full textThis dissertation addresses, on the one hand, Lars Gyllenstens fundamentally critical relationship to imagery and image interpretation. Throughout his literary career, in his fiction as well as in his polemic criticism in the press, Gyllensten has performed the role of iconoclast. On the other hand, his writing has continually involved the investigation and creation of images, often with the help of the visual arts. What is the relationship between Gyllensten the iconoclast and Gyllensten the creator of images - between image criticism and aesthetics? Contrary to earlier research, this thesis maintains that Gyllensten did not abandon his critique of imagery in the mid 1960's but rather continued beyond that period to act as image critic as well as image defender. The conclusion becomes apparent if the author's entire oeuvre - fiction, essays and critical articles - is considered. The dissertation is ordered into three sections: Part One demonstrates how certain central metaphors can be understood to function as critical tools, rhetorical devices and meta-images, i.e. images reflecting the process of image-creation or representing the act of representation. From Gyllenstens early work, the text, the staged event and the metaphorical function of Camera obscura are analyzed. Thereafter, the central metaphors 'Flesh' and 'Dance' in Carnivora (1953) are examined. The texts involved in this collection of fragments are seen as unified language games which, via metatextual strategies, offer interpretative instructions on various levels to the reader. The manner in which the text engages the visual arts is also explored in relation to Carnivora and to critical essays from early on in Gyllensten's writings. Part Two investigates the author's polemic cultural criticism in articles written for the press. Here it is shown that, even in this context, Gyllensten uses metaphorical language games. Particular emphasis is placed on his uses of the key iconoclastic concepts iconoclasy (ikonoklasi), idol and idolatry. In so doing, the contemporary critical context relating to the positively-charged concept of icon is exposed. Part Three proposes to show how In the shadow of Don Juan (I skuggan av Don Juan, 1975) involves a meta-critique, i.e. a criticism directed at fruitless iconoclasm, which upheld the author's image criticism while displaying an attitude of image creation. The function of the concept of icon as another meta-image in the following novel, Return of the shadow (Skuggans återkomst, 1985), is then examined. Through the analysis of that novel's excessive use of meta-textual strategies, the aesthetics is shown to guide the reader's reception in the same way as was done in Carnivora. To that end, the investigation involves the analysis of a number of ekphrases whose function in the novel is to guide interpretation as well as to free it from mono-dimensionality. The novel's narrative structures are then compared to the orthodox church and its holy icons. Thus it is shown how the author allows conditions from the metaphor's (the icon's) original context to structure the way in which Return of the shadow can be opened for a myriad of interpretative paths. The result is a demonstration of a multi-dimensional aesthetic offering the possibility of creative involvement in producing the work of art
The genetic structure of fish: differences in the intraspecific distribution of biochemical genetic variation between marine, anadromous, and freshwater species
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Tgf ß receptor 1: An immune susceptibility gene in hpv-associated cancer
No full textOnly a minority of those exposed to human papillomavirus (HPV) develop HPV-related cervical and oropharyngeal cancer. Because host immunity affects infection and progression to cancer, we tested the hypothesis that genetic variation in immune-related genes is a determinant of susceptibility to oropharyngeal cancer and other HPV-associated cancers by performing a multitier integrative computational analysis with oropharyngeal cancer data from a head and neck cancer genome-wide association study (GWAS). Independent analyses, including single-gene, gene-interconnectivity, protein-protein interaction, gene expression, and pathway analysis, identified immune genes and pathways significantly associated with oropharyngeal cancer. TGFßR1, which intersected all tiers of analysis and thus selected for validation, replicated significantly in the head and neck cancer GWAS limited to HPV-seropositive cases and an independent cervical cancer GWAS. The TGFbR1 containing p38-MAPK pathway was significantly associated with oropharyngeal cancer and cervical cancer, and TGFßR1 was overexpressed in oropharyngeal cancer, cervical cancer, andHPV+ head and neck cancer tumors. These concordant analyses implicate TGFßR1 signaling as a process dysregulated across HPV-related cancers. This study demonstrates that genetic variation in immune-related genes is associated with susceptibility to oropharyngeal cancer and implicates TGF ßR1/TGFß signaling in the development of both oropharyngeal cancer and cervical cancer. Better understanding of the immunogenetic basis of susceptibility to HPV-associated cancers may provide insight into host/virus interactions and immune processes dysregulated in the minority of HPV-exposed individuals who progress to cancer. © 2014 American Association for Cancer Research
Rapid DNA purification from agarose gels using 96-well format, centrifuge-driven filtration
No full textGlobal matrilineal population structure in sperm whales as indicated by mitochondrial DNA sequences
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