The paper discusses a piece by one of the most outstanding Danish short story writers of the 19th century, structured around the convential elements of detective stories. Relying on Jean Baudrillard’s simulacra theory, it attempts to demonstrate the process of how the intriguer Morten Bruus, by a successful use of make-believe, manages to incriminate a pastor, Søren Qvist, in a murder although he is innocent. Bruus’s manipulative strategy prevails in the end: he succeeds at deceiving both his environment and the judge presiding in the case, and the accused is executed. The truth is revealed only twenty years later when Niels Bruus, long thought to be dead, returns. Drawing on Derrida’s legal philosophy, the analysis seeks to expose the problematic nature of justice on earth, and it shows by revisiting certain ideas of Kierkegaard that even in the shadow of death, steadfast faith in divine justice can get us over our fears and the eternal uncertainty deriving from the essence of human existence.
Social Problems in Modern Finnish Thrillers by Ilkka Remes and Taavi Soininvaara
Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
The present paper aims to investigate and compare the conceptualization and verbalization of the in-out relation in Danish and Polish. The introductory paragraphs focus on the differences in the distribution of content in Polish and Danish employing Leonard Talmy’s typological classification of languages into verb-framed and satellite-framed, and provide information about Danish Directional Adverbs which are believed to be the key to understanding spatial relations in Danish. The analysis in the following paragraph reveals similarities and differences in the perception of the in-out relation through image schemas such as CONTAINER and CENTER-PERIPHERY. The analysis of the CENTER-PERIPHERY image schema in Danish reveals that there is often a presupposed reference point in situations where the directional adverb does not refer to the in-out relation denoted by the prepositional phrase, which leads to a description of the general structure of this image schema in the last part of the article.
Definiteness appears to be one of the most difficult categories for learners of Swedish. Particularly difficult are the so-called indirect anaphors, definite noun phrases without any explicit antecedent in text. The choice of a definite noun phrase in such contexts requires language skills on a higher level and even some general knowledge about the world. Such phrases make a very nuanced category, yet they are marginalised in textbooks for learning Swedish. This paper presents the results of a study conducted among a group of Polish students of Swedish at the Adam Mickiewicz University in Poznań. The analysis considers noun phrases used in contexts for indirect and direct anaphors excerpted from short texts written by the students based on a picture story. The results reveal that the students’ use of indirect anaphors is not stable. It can be assumed that indirect anaphors concerning body parts are easier to acquire for the learners. Another important factor is the relation of possession between anaphors and triggers. Students often omit the suffixed definite article in context for both indirect and direct anaphors. The study is included in my doctoral thesis written on this topic.
The article analyses references made to the notion of truth and falsehood in Swedish and Polish parliamentary talk. The results show that despite the mainstreaming of post-structuralism in contemporary society, the notion of truth – the central question of Western philosophy – is still present the parliamentary talk and in the ways in which MPs deliberate and engage in arguments. As the article argues, the MPs deploy discursive strategies exploiting mostly the classical or early modern objective theories of truth. Seeing truth as the ultimate value makes it expedient as a persuasive device and part of epideictic oratory. Apart from the similarities found in the Swedish and Polish parliamentary talk, the article shows differences mainly in how directly an accusation of lying can be voiced in the two parliaments.
Marta Olga Janik, Oliwia Szymańska and Barbara Łukaszewicz
In this article we give a brief summary of how Norwegian and Polish sentences are classified in the widely acknowledged grammar books. Therefore, we review the definitions of sentences in both languages, and compare the various classifications applied in Norwegian and Polish. Additionally, much focus is given to classification of sub clauses, which happen to be differently characterized in the respective languages. We would claim that there is a significant bias regarding features that determine classification of sub clauses in Norwegian and Polish. While in Norwegian a lot of emphasis is put on structural features, focusing on how particular units are organized within a sentence, the Polish classifications seem more semantic-oriented. As far as grammatical terms are concerned, Norwegian is featured by far more notions that might yield intransparency for a Polish learner or grammarian. On the other hand, the Norwegian classifications seem far more transparent. Due to a lack of 1-1 relation between terms used in Norwegian and Polish, we cater for this need by providing terms applicable for both languages. We believe that this may come into useful for all who try to systematize their knowledge about sentences in both languages.
The article discusses picturebooks illustrated by a Norwegian artist, Svein Nyhus, to show his specific symbolic manner of depicting the child’s environment. It is argued that the illustrator employs characteristic recurrent elements of home representations and elaborates an interesting interplay of outer and inner spaces, consistently focusing the child’s perspective. This is demonstrated by an analysis of four picturebooks by the Norwegian artist: Pappa! (1998, Daddy!), Snill (2002, Nice), Sinna mann (2003, Angry Man) and Håret till mamma (2007, Mum’s Hair). The books have been regarded as ambitious literature for children, addressing difficult issues or even sometimes breaking a taboo. To show Nyhus’ visual method of thematising childhood’s traumas in relation to a home space is also one of the aims of the paper. The analysis of visual content is carried out with references to the textual narratives, drawing on ideas about heterotopia by Michel Foucault (1984), self-effacement by Karen Horney (1997) and the poetics of space by Gaston Bachelard (1969).
The article elucidates the presence of the Sami undercurrent in Norwegian literature. Proceeding from Elisabeth Oxfeldt’s theoretical work on the post-national and on the Bhabhanian concept third space, two novels are being discussed: Ailo Gaup’s Trommereisen (1988) and Helene Uri’s Rydde ut (2013). Gaup’s works constitute the first samic voice in Norwegian literature, which explicitly verbalizes the despair emanating from the loss of continuity as regards to the self-image and the self-identity of many samic individuals. Uri’s auto-fictional text combines family research with editing and correcting the nation’s biography. Emphasizing the novels employment of the travel north as a driving force behind the plot and as a metaphorical device, the author of the article interprets the novels as an expression of hope to transgress the social reality and re-establish the lost coherence of personal and national history either by means of shamanic knowledge and practice (Trommereisen) or by means of discursive practice (Rydde ut) that liberates the individual from rigid preconceptions regarding identity and cultural belonging.
The prose work of the Polish exile writer Bronisław Świderski, who has been living in Denmark since 1970, explores strangeness – an important topic of modern literature. Świderski addresses strangeness not only as an individual experience, but also as a social problem. In this article, I would like to take a closer look at the analysis of foreignness and the psyche of an immigrant in Świderski’s award-winning novel Słowa obcego (1998). From many problems addressed in the novel, which are directly or indirectly connected with strangeness, I want to take out one aspect. At this point I will be interested in the relationship between language (discourse) and strangeness.
In this article I analyze the autobiographical novel Längta hem. Om ett missionärsbarn i Kongo (2003) by Lennart Hagerfors in order to understand how otherness is presented and how it is linked to the status of migration and being Swedish. I argue that the novel shows two distinct forms of otherness. The first is on the personal and individual level of the protagonist that is caused by his migration from Sweden to Congo. The other is on a cultural and national level, which situates Sweden in between the Congolese and French culture. While the first personal form of strangeness is viewed as problematic and must be overcome, the second form can be read as an expression of the positive Swedish self-image that situates Sweden outside of Europe’s colonial history and therefore posits Sweden as a type of humanitarian Great Power or global conscience.