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Open access
(side 117-118)
Artikkel
Open access
Vitenskapelig publikasjon
(side 119-133)
av Jonathan Culler
Sammendrag

Illustrating the argument of Culler’s Theory of the Lyric with examples from American poetry, this paper contests the New Criticism’s model of lyric as dramatic monologue by a fictional persona, arguing instead for a default model of lyric as poetic discourse about our world, which subordinates fictional and representational elements to ritualistic features of poetic discourse, such as sound patterning, lyric address, and the lyric present tense. For a great many lyrics it is counterproductive to ask who is speaking or on what situation.

Open access
Vitenskapelig publikasjon
(side 134-149)
av Charles Altieri
Sammendrag

My essay tries to show how and why T.S. Eliot rejected Imagism as a plausible model for a truly Modern poetry—first because it could not capture the intricacy of how self-consciousness haunts all making in art by a contrast between positive assertion and all that cannot be embodied in the perceptual order. That Eliot’s Christianity then addresses this sense of shortcoming becomes important for secular possibilities of poetry because it gives him a way of aligning with Constructivist principles that emphasize the significance of our powers not just to engage objects but to manifest the powers of subjectivity in order to establish what Hegel called an “inner sensuousness”. This inner sensuousness affords the possibility of dwelling imaginatively on positive aspects of self-consciousness because art becomes an invitation to see how making affords new ways of engaging objectivity and conferring meaningfulness on experience. "Ash Wednesday” defines those powers by the kinds of awareness involved in “rejoicing to rejoice” and “striving to strive." And Murder in the Cathedral explores the logic of martyrdom in order to celebrate social relations based on faith in Incarnation that offers the possibility of love replacing the demands of the ego.

Open access
Barbro Hörberg, Barbara och Sommarö
Om influens kvinnliga sånglyriker emellan
Vitenskapelig publikasjon
(side 150-164)
av Marita Rhedin
SammendragEngelsk sammendrag

Denna artikel handlar om den svenska sångerskan och vispoeten Barbro Hörberg, som under 1970-talet var banbrytande som en av få kvinnliga förgrundsgestalter inom den litterära visan. I artikeln diskuteras Barbro Hörbergs vislyrik i relation till singer-songwritern som genre ur ett internationellt perspektiv. Hörberg tog starkt intryck av den franska textförfattaren, kompositören och sångerskan Barbara, vilket undersöks genom en analys av sången «Sommarö», som bygger på en förlaga av Barbara. För att ge en allmän bild av Hörbergs textproduktion görs en översikt över texttematiken i hennes sånger och monologer. I artikeln argumenterar jag också för vikten av förebilder för att en kreativ skapandeprocess ska initieras. Med influens från en förebild avses i det här sammanhanget inte försök till direkt efterbildning, utan att den influerade genom förebilden skönjer möjligheten att uttrycka sig inom en viss ram – eller som Franco Fabbri uttrycker det i ett citat från Bob Dylan om hans influens från den franske författaren och dramatikern Jean Genet: «The songs I’d write would be like that» (Fabbri 2016, 23).

This article deals with the Swedish singer-songwriter Barbro Hörberg, who was groundbreaking in the 1970s as one of a few female representatives of the literary visa. In this article, Barbro Hörberg’s songwriting is discussed in relation to the singer-songwriter as a genre from an international perspective. Hörberg took strong impression from the French auteur-compositeur-interprète Barbara, which is being examined by an analysis of the song «Sommarö», based on a model by Barbara. In order to provide a general picture of Hörberg’s production, an overview of the contents of her song lyrics and monologues is given. In this article, I also argue for the importance of role models in order for a creative process to be initiated. Influence from a model does not, in this context, mean attempts to imitate, but rather that the influenced though the model discerns the possibility of expressing her-/himself within a certain framework – or as Franco Fabbri writes in a quote from Bob Dylan about his influence from the French novelist and dramatist Jean Genet: «The songs I’d write would be like that» (Fabbri 2016, 23).

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