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.
Although scholars in the Netherlands have already attempted to integrate literary theories on migration with the specific Dutch context, none such attempts have so far been made for Flemish literature. The current paper therefore scrutinises the novel Los by Tom Naegels, an (autobiographical) account of the riots in Borgerhout (Antwerp) after the murder on Islam teacher Mohamed Achrak in 2002. As the author also covered these events as a journalist, the analysis investigates the manner in which this topical matter is intertwined with the more personal story about the struggle conducted by Naegels’s grandfather for euthanasia. The paper leans on Jérôme Meizoz’s posture theory, which differentiates the author figure from the biographical person and the narrator. In addition, the novel is situated within the contemporary literary return towards realism and Flemish literature’s negotiation of Flemish identity. By focussing on these three elements – the theme of migration, realism and Flemish identity – the paper attempts to contribute to the development of a literary theory on migration in Flanders.
This article discusses the Dutch poet Remco Campert’s involvement in the anti-apartheid movement in Holland by focusing on his magazine Gedicht (1974-1976) and his poem dedicated to the imprisoned South African writer Breyten Breytenbach. Campert’s international engagement is part of the actions undertaken by the Breytenbach-committee and other Dutch initiatives which tried to maintain public interest for the case of Breyten-bach’s imprisonment.
In the making of an edition of the first modern Dutch slavery novel, De stille plantage (1931) by Surinamese author Albert Helman, all kinds of questions arise. There are issues of postcolonial contextualization, historical commentary and the way a text gets its actual significance in high schools. All these issues have their own sensibility in the light of recent fierce debates on slavery and its impact on western societies. The editors do have to take into account more than ever before their own position and questions of ideological responsibility, apart from issues of didactical and pedagogical nature. The question is raised whether such a modern edition does not touch more upon ideological language critique than postcolonial contextualization.
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).
This paper discusses Dutch historical travelogues as a source for linguistic research. On the one hand one can find descriptions of exotic languages or undocumented remote dialects in travel journals, on the other hand one may come across philosophical and theoretical ideas about language in the utopian reports of imaginary voyages.
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.