The paper presents an analysis and discussion of the Danish writer Inger Christensen’s experimental novel Azorno from 1967. It is argued that the novel, which is partly in epistolary form, can be read as a literary objet trouvé, a found manuscript consisting of a struggling writer’s unfinished notes and documents. I then attempt to characterise the novel using the typology of metafictional forms and attitudes proposed by Gemzøe (2001), and point out a number of potential problems with this typology.
In this paper we discuss the alienability splits in two Mainland Scandinavian languages, Swedish and Danish, in a diachronic context. Although it is not universally acknowledged that such splits exist in modern Scandinavian languages, many nouns typically included in inalienable structures such as kinship terms, body part nouns and nouns describing culturally important items show different behaviour from those considered alienable. The differences involve the use of (reflexive) possessive pronouns vs. the definite article, which differentiates the Scandinavian languages from e.g. English. As the definite article is a relatively new arrival in the Scandinavian languages, we look at when the modern pattern could have evolved by a close examination of possessive structures with potential inalienables in Old Swedish and Old Danish. Our results reveal that to begin with, inalienables are usually bare nouns and come to be marked with the definite article in the course of its grammaticalization.
The aim of the article is to analyze works written by four Polish-Danish authors in terms of defining the poetics they use to communicate their migration experience. The migration experience is to be understood as a never-ending process of translating own identity to a new cultural context. The point of departure for the analysis are selected works of four Polish-Danish authors: Alicja Fenigsen, Janina Katz, Bronisław Świderski and Grzegorz Wróblewski. The author of the article discusses also the existence/non-existence of a specific Polish-Danish migration aesthetic by comparing the analyzed works.
Inspired by the fact that there are as many as five different Polish translations of Gunnar Ekelöf’s poem Absentia animi (Non serviam, 1945), this paper aims to present and discuss several criteria that may be helpful to identify, describe and evaluate conditions, tendencies and strategies concerning Polish translations of Swedish poetry. The most crucial of the presented criteria, that may be used in order to ascertain what kind of poetry has been translated from Swedish into Polish so far, is the translator’s attitude to literary canons. It is based on Jerzy Jarniewicz’s distinction between two possible attitudes, i. e. ‘ambassador’ and ‘legislator’, which stand for respectively transferring the established canon from the source-language literature, and creating a new one that can influence the target-language literature. The other criteria discussed refer to the following questions: the affiliation of the translated text with either the source-language literature or the target-language literature (1), the possibility of evaluation of poetry translation (2), and the concept of untranslatability (3). All of the mentioned criteria can help to analyze the specific strategies applied in the translation process. The paper is to be seen as an introduction to a larger ongoing research conducted by the author.
In today’s transforming European public sphere various literary authors position themselves publicly and engagingly in the debate on migration and exclusion. Dutch writer Tommy Wieringa is a clear voice in this context: his ideas on the topic are meaningfully expressed in literary novels. This article analyses Wieringa’s position as an authoritative public intellectual speaking with great moral weight about the figure of the migrant. Drawing on positioning theory, the main claim of the article will be that Wieringa’s literary articulation of migration contributes to the societal discussion and underlines a specific type of moral knowledge as well as an appeal to human solidarity.
The Flemish writer Herman Brusselmans is the most famous author of the Low Countries. In this article, Herman Brusselmans is analysed as a star author. First and foremost, two striking aspects of Brusselmans’s stardom are analysed: his public visibility and the cult of the private. Attention is then focused on Brusselmans’s experience of celebrity, which he - like many other star authors - thematises in his books. Doing so, he consciously places himself in the context of popular culture. On the other hand, as a result of his celebrity status he has been expected - particularly in the last few years - to assume the role of public intellectual willy-nilly, and this in turn has had consequences for his work.
In 1860, the Dutch author Multatuli (pen name of Eduard Douwes Dekker) published Max Havelaar, which was to become the most famous nineteenth-century Dutch novel. In 2016, the book was rewritten by Martijn Adelmund as a book in which also zombies play a role. By doing so, Adelmund follows a fifteen-year-old American literary tradition to rewrite literary masterpieces as zombie books. Since Max Havelaar neither contains many characters nor descriptions of Indonesian nature and has a rather simple plot, Adelmund decided to mix the book with another nineteenth-century Dutch literary masterpiece: Louis Couperus’ De stille kracht. The purpose is to make secondary school pupils read the original Max Havelaar again and encourage them to compare the two versions in order to develop a critical understanding of Dutch colonial history and its present-day consequences. The review focuses on the way Adelmund combined the two classic books, reshaped the plot and added parts of his own. Attention is paid to the way in which the original language was modernized and to the question whether this book really can or will help young students to read the original. However noble Adelmund’s objectives may be, it is very improbable that he will manage to realize them since the quality of the novel he created leaves a lot to be desired.