Folia Scandinavica Posnaniensia, 2000, nr 6

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    Die finnische Kinder- und Jugendliteratur und ihre Präsens in Polen
    (Adam Mickiewicz University Press, 2000) Mrozewicz, Bolesław
    In 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.
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    Katri Valas modernistische (In)konsequenz
    (Adam Mickiewicz University Press, 2000) Jamrowska, Julita; Boleslaw, Mrozewicz
    In 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.
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    Språk som tema och stoff i Katarina Frostensons diktning
    (Adam Mickiewicz University Press, 2000) Skalska, Katarzyna
    Language 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.
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    Att framställa det oframställbara. Stig Larssons poesi och det postmoderna
    (Adam Mickiewicz University Press, 2000) Niewiarowska-Rasmussen, Ewa
    The paper constitutes an analysis of the poetry of Stig Larsson in the context of the postmodern break-up of traditional definitions of literary genres. The characteristic features of the Swedish poet's work are ambiguity, fragmentation, rich intertextual references, and, most importantly, a radically undefined, diffuse persona of the speaker, no longer able to organize the presented world. Larsson's poetry is rich in lexical, semantic and syntactic experimentation. The poet suggests a change in the relation between the author and the reader.
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    Bildsprache und Sprachbilder in der Prosa und Prosatheorie Jan Kjaerstads
    (Adam Mickiewicz University Press, 2000) Brynhildsvoll, Knut
    In all his novels Jan Kjærstad in a very significant manner makes use of pictorial descriptions. The objects, which he describes, oscillate between famous pictures of artists like Vermeer, Picasso, Gauguin, van Gogh and imaginary ones, which are the products of the author’s own phantasy. Together the descriptions of real and fictional objets d’art shape a network of interpictorial patterns, which are typical for Kjaerstad’s way of writing. These interfigural traces seem to me to be very important parts of the textual conception of his novels and they obviously have a metaphoric function. In my contribution I focus on some aspects of this metaphoric structure by means of pictorial description and show some semantic implications of the interpictorial relations and of the basic communications between verbal and graphic signs, which in the novels of Kjærstad can be traced back to a common point of departure, in which there is no difference between written and pictorial expression.