Better dead: J. M. Barrie’s first book and the shilling fiction market

This article provides a critical and bibliographical discussion of J. M. Barrie’s neglected first book, Better Dead, published by Swan Sonnenschein, Lowrey & Co. in 1887. Drawing on previously unexamined evidence in the Sonnenschein archive, it shows how this shilling novel was marketed and sold to its readers at railway bookstalls, and argues that the content and style of the story was conditioned by its form. Examining the many references and allusions in the story, it proposes that the work is best understood as a satire on contemporary political, social and literary themes. The article also shows how, contrary to all published accounts, the author actually earned a small amount of money from a work which, in spite of his efforts, refused to stay dead.

Order and disorder in fiction labyrinths: the librarians` representations in some contemporary cultural productions

This paper, first result of a larger research, proposes a query about some aspects of social representation of libraries and librarians, as they appear in literary and cinematographic productions. Little by little, this query, which arose from purposes of organizing catalogues, revealed elements that established different series, in which the narrative genre (literary or cinematographic) has no relevance to either libraries or librarians` representations. The presence of these elements seems to show some expectations and utopias in relation to the common knowledge, independently from narratives being located in the past, in the present or in the future, stimulating reflection on some medieval and baroque traditions about the library universe and its main characters, the librarians. The cinematographic material selected for research was The time machine, Farenheit 451, The day after tomorrow, Star Wars - episode II and the novels Martin Eden, The man without qualities, The time machine and La sombra del viento.

Stranger than fiction : En studie kring berättarstruktur i en film

Denna uppsats är en narratologisk analys av berättarstrukturen inom filmen Stranger than fiction. Uppsatsen inleder med en terminologi samt en teoridel kring vad som är berättarstruktur. Utifrån detta analyserar jag filmen för att grundläggande redogöra kring hur den är berättad genom att först beskriva filmens totala fabula för att sedan analysera vad som egentligen förmedlas och på så sätt även komma fram till en slutsats kring filmens totala berättarstruktur. Resultatet visar på att Stranger than fiction är berättad genom flertalet olika nivåer som visar på två olika berättare inom två olika diegeser som förmedlas genom samma berättare. Detta resultat leder till en tematisk diskussion ett postmodernt ontologiskt syfte som genom filmens komplicerade narratologiska struktur försöker förmedla budskapet ”lev det liv du vill ha” samt ”livet blir viktigt först när döden gör sig synlig.

Are We Terribly Different? : A case-study of male and female fiction-writing in English

The aim of this study is to find similarities and differences between male and female fiction-writing. The data has been collected from pupils at an upper secondary school in Central Sweden. They were given an extract from a novel by Bernard MacLaverty and from that they were supposed to continue the story.Theories that have evolved during the last centuries claim that the language use between men and women differ in many aspects. Women, it is said, use a more emotional language than men do, while men use more expletives than women. Likewise, the language is said to differ in the use of adverbs, verbs and adjectives. It has also been claimed that men and women have different topic developments and that women write longer sentences than men.The results of the current study show that most of these claims are false, or at least not true in this specific context. In most cases there is little or no difference between the male writing and the female writing. There are also cases where the opposite is true – for example, the female participants write shorter sentences than the male participants. A general conclusion of the study is that the writing between the two groups are quite similar – or at least that similarities are present to a larger extent than differences.

Understanding Foreign Masters : the examples of Rabindranath Tagore and Fyodor Dostoyevskiy

The Indian author Rabindranath Tagore was received like royalty during his visits to the West after winning the Nobel Prize in 1913. Dreams of foreign cultures offered a retreat from a complicated age. In a time when the West appeared to be living under threat of disintegration and when industrialism seemed like a cul-de-sac, he appeared to offer the promise of a return to a lost paradise, a spiritual abode that is superior to the restless Western culture. However, Tagore’s popularity faded rapidly, most notably in England, the main target of his criticism. Soon after Tagore had won the Nobel Prize, the English became indignant at Tagore’s anti-colonial attitude.Tagore visited Sweden in 1921 and 1926 and was given a warm reception. His visits to Sweden can be seen as an episode in a longer chain of events. It brought to life old conceptions of India as the abode of spirituality on earth. Nevertheless, interest in him was a relatively short-lived phenomenon in Sweden. Only a few of his admirers in Sweden appreciated the complexity of Tagore’s achievements. His “anathema of mammonism”, as a Swedish newspaper called it, was not properly received. After a steady stream of translations his popularity flagged towards the end of the 1920s and then almost disappeared entirely. Tagores visits in Sweden gave an indication that India was on the way to liberate itself from its colonial legacy, which consequently contributed to the waning of his popularity in the West. In the long run, his criticism of the drawbacks in the western world became too obvious to maintain permanent interest. The Russian author Fyodor Dostoyevskiy’s Crime and Punishment (1866) has enticed numerous interpretations such as the purely biographical approach. In the nervous main character of the novel, the young student Raskolnikov, one easily recognizes Dostoyevskiy himself. The novel can also be seen as a masterpiece of realistic fiction. It gives a broad picture of Saint Petersburg, a metropolis in decay. Crime and Punishment can also be seen as one of the first examples of a modern psychological novel, since it is focused on the inner drama of its main character, the young student Raskolnikov. His actions seem to be governed by mere coincidences, dreams and the spur of the moment. it seems fruitful to study the novel from a psychoanalytical approach. In his book Raskolnikov: the way of the divided towards unity in Crime and Punishment (1982), a Swedish scholar, Owe Wikström, has followed this line of interpretation all the way to Freud’s disciple C G Jung. In addition to this, the novel functions as an exciting crime story. To a large extent it is Viktor Sjklovskij and other Russian formalists from the 1920s and onwards who have taught the western audience to understand the specific nature of the crime story. The novel could be seen as a story about religious conversion. Like Lasarus in the Bible (whose story attracts a lot of attention in the novel) Raskolnikov is awakened from the dead, and together with Sonja he starts a completely new life. The theme of conversion has a special meaning for Dostoyevskiy. For him the conversion meant an acknowledgement of the specific nature of Russia itself. Crime and punishment mirrors the conflict between traditional Russian values and western influences that has been obvious in Russia throughout the history of the country. The novel reflects a dialogue that still continues in Russian society. The Russian literary historian Mikhail Bakhtin, who is probably the most famous interpreter of the works of Dostoyevskiy, has become famous precisely by emphasizing the importance of dialogues in novels like Crime and Punishment. According to Bakhtin, this novel is characterized by its multitude of voices. Various ideas are confronted with each other, and each one of them is personified by one of the characters in the novel. The author has resigned from his position as the superior monitor of the text, and he leaves it to the reader to decide what interpretation is the correct one..The aim of the present study is thus to analyze the complex reactions in the west to Tagore’s visits in Sweden and to Fyodor Dostoyevskiys novel Crime and Punishment.. This leads to more general conclusions on communication between cultures.

Kuvad och jämlik på planeten Vinter : Le Guins feministiska science fiction-roman The Left Hand of Darkness ur Foucaults maktperspektiv

Studien är en applicering av Foucaults Övervakning och straff på science fiction-romanen The Left Hand of Darkness av Le Guin. Fokus låg på hur makten drabbar huvudkaraktärerna; syftet var att notera hur de gör motstånd mot maktutövningen och att ta fasta på alternativa maktrelationer som kan influera verkligt politiskt arbete mot en bättre, mer jämlik värld. Att använda Foucaults idéer på liknande sätt är vanligt. Analysen består av sex sekvenser som utspelar sig på planeten Vinter i The Left Hand of Darkness. Landsförvisningar för att återupprätta härskarens makt, både avsaknaden och upprättandet av framstegsmyt och en etik som förespråkar jämlikhet utmärkte monarkin Karhide; kuvade kroppar i disciplinens förtecken och en makt som är sammantvinnad med vetandet kännetecknade byråkratin Orgoreyn. Slutsats: Det är nödvändigt att uppoffra sig för att få till stånd förändringar. Den politiske visionären kan dessutom ha användning för en särskild etik, en mindre aggressiv framstegsmyt och horisontellt samarbete.

Thick viewing : empirical examples of condensed moments of narrative impact in fiction film developing theoretical concepts for intensified engagements

Abstract  In a case study about viewing habits in a Swedish audience I sampled 309 questionnaires; interviews with five focus group were conducted together with ten in-depth individual interviews discussing altogether fifteen favorite films exploring specific scenes of idiosyncratic relevance.  The outcome supports claims about viewers as active and playful (cf. Höijer 1998, Frampton 2006, Hoover 2006, Plantinga 2009). In line with mediatization theory I also argue that spiritual meaning making takes place through mediated experiences and I support theories about fiction films as important sources for moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009). What Hjarvard calls the soft side of mediatization processes (2008) is illustrated showing adults experiencing enchantment through favorite films (Jerslev 2006, Partridge 2008, Klinger 2008, Oliver & Hartmann 2010).  Vernacular meaning making embedded in everyday life and spectators dealing with fiction narratives such as Gladiator, Amelie from Montmartre or Avatar highlights the need for a more nuanced understanding of elevated cinematic experiences. The reported impact of specific movies is analyzed through theories where cognition and affect are central aspects of spectators’ engagements with a film (Tan 1996, Caroll 1999, Grodal 2009). Crucially important are theories of meaning-making where viewers’ detailed interpretation of specific scenes are embedded in high-level meaning-making where world view issues and spectators’ moral frameworks are activated (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Lynch 2007, Avila 2007, Axelson 2008, Plantinga 2009).  Also results from a growing body of empirical oriented research in film studies are relevant with an interest in what happens with the flesh and blood spectator exposed to filmic narratives (Jerslev 2006, Klinger 2008, Barker 2009, Suckfüll 2010, Oliver & Hartmann 2010). Analyzing the qualitative results of my case study, I want to challenge the claim that the viewer has to suspend higher order reflective cognitive structures in order to experience suture (Butler & Palesh 2004). What I find in my empirical examples is responses related to spectators’ highest levels of mental activity, all anchored in the sensual-emotional apparatus (Grodal 2009). My outcome is in line with a growing number of empirical case studies which support conclusions that both thinking and behavior are affected by film watching (Marsh 2007, Sückfull 2010, Oliver & Hartmann 2010, Axelson forthcoming). The presentation contributes to a development of concepts which combines aesthetic, affective and cognitive components in an investigation of spectator’s moves from emotional evaluation of intra-text narration to extra-textual assessments, testing the narrative for larger significance in idiosyncratic ways (Bordwell & Thompson 1997, Marsh 2007, Johnston 2007, Bruun Vaage 2009, Axelson 2011). There are a several profitable concepts suggested to embrace the complex interplay between affects, cognition and emotions when individuals respond to fictional narratives. Robert K. Johnston label it “deepening gaze” (2007: 307) and “transformative viewing” (2007: 305). Philosopher Mitch Avila proposes “high cognition” (2007: 228) and Casper Thybjerg ”higher meaning” (2008: 60). Torben Grodal talks about “feelings of deep meaning” (Grodal 2009: 149). With a nod to Clifford Geertz, Craig Detweiler adopts “thick description” (2007: 47) as do Kutter Callaway altering it to ”thick interpretations” (Callaway 2013: 203).  Frampton states it in a paradox; ”affective intelligence” (Frampton 2006: 166). As a result of the empirical investigation, inspired by Geertz, Detweiler & Callaway, I advocate thick viewing for capturing the viewing process of these specific moments of film experience when profound and intensified emotional interpretations take place. The author As a sociologist of religion, Tomas Axelsons research deals with people’s use of mediated narratives to make sense of reality in a society characterized by individualization, mediatization and pluralized world views.  He explores uses of fiction film as a resource in every day life and he is currently finishing his three year project funded by the Swedish Research Council: Spectator engagement in film and utopian self-reflexivity. Moving Images and Moved Minds. http://www.du.se/sv/AVM/Personal/Tomas-Axelson Bibliography Axelson, T. (Forthcoming 2014). Den rörliga bildens förmåga att beröra.[1] Stockholm: Liber Axelson, T. (In peer review). Vernacular Meaning Making. Examples of narrative impact in fiction film questioning the ’banal’ notion in mediatization theory. Nordicom Review. Nordicom Göteborg. Axelson, T. (2011). Människans behov av fiktion. Den rörliga bildens förmåga att beröra människan på djupet.[2]Kulturella perspektiv. Volume 2. Article retrieved from www.kultmed.umu.se/digitalAssets/74/74304_axelson-22011.pdf Axelson, Tomas (2010) “Narration, Visualization and Mind. Movies in everyday life as a resource for utopian self-reflection.” Paper presentation at CMRC, 7th Conference of Media, Religion & Culture in Toronto, Canada 9 – 13th August 2010. Axelson, Tomas (2008) Movies and Meaning. Studying Audience, Favourite Films and Existential Matters. Particip@tions : Journal of Audience and Reception Studies. Volume 5, (1). Doctoral dissertation summary. ACTA UNIVERSITATIS UPSALIENSIS. Article retrieved from http://www.participations.org/Volume%205/Issue%201%20-%20special/5_01_axelson.htm  [1] English translation: Moving Images and Moved Minds. [2] English translation: Our need for fiction. Deeply Moved by Moving Images. Cultural Perspectives.

Movies and meaning : studying audience, fiction film and existential matters

In what ways and under what circumstances can a movie be a resource for individuals and their thoughts about existential matters? This central research question has been investigated using a both quantitative and qualitative approach. First, a questionnaire was distributed amongst 179 Swedish students to provide a preliminary overview of film habits. The questionnaire was also used as a tool for selecting respondents to individual interviews. Second, focus group and individual interviews were conducted, with viewers choosing their favourite movie of all time. In the study socio-cognitive theory and a schema-based theoretical tool is adopted to analyze how different viewers make use of movies as cultural products in an interplay between culture and cognition in three contexts; a socio-historic process, a socio-cultural interaction with the world and inner psychological processes. The viewers in the study seem to be inspired by movies as a mediated cultural resource, promoting the development of a personal moral framework with references to values deeply fostered by a humanistic tradition. It is argued that these findings support theories discussing individualised meaning making, developing ‘self-expression values’ and ‘altruistic individualism’ in contemporary western society.