Мотив пути — одна из основных доминант в творчестве видных поэтов Финляндии ХХ в. как финнов, так и шведов. Понимание жизни как дороги роднит поэзию Эйно Лейно, Ууно Кайласа, Пааво Хаавикко, Ристо Ахти, Хели Лааксонен, Эдит Сёдергран, Эльмера Диктониуса, Ральфа Нурдгрена и др. Их позиция совпадает с творческими концепциями Александра Блока, с идеями паломничества в европейской литературе. Поэзия Финляндии ХХ в. встраивается в общеевропейскую линию, но в финской поэзии мотив пути существовал еще начиная с эпических песен. Причем у путешественников цели были разные — от высоких, священных, до приземленных, бытовых. В начале ХХ в. финские неоромантики, интересуясь историей национальной культуры, совершали частые путешествия в финскую и русскую Карелию. Начиная с 1920-х гг. поэты обращаются к образу пути как к «святой дороге призвания» (Ууно Кайлас), с которой певец не имеет права свернуть. В послевоенной поэзии движение по кругу, «туда-сюда» (Ристо Ахти) в любом случае означает движение вперед. Главное, не сесть на мель, не налететь на стену. Доминанта пути оказывается тесно сплетенной с доминантой образа дома, мотив пути — с образом времени, с жизненным циклом, биографией. Путь реальный, географический, биографичный и духовный сливаются в один, и на этом пути высокое сплетается с низким и даже низменным, макрокосм с микрокосмом. В современной финской поэзии тема пути зазвучала по-новому с разнообразными нюансами, которые порой не сочетаются друг с другом, но она по-прежнему остается актуальной и, можно сказать, основной.
В статье рассматривается раннее творчество выдающегося шведского поэта Финляндии, представителя модернизма Эдит Сёдергран, которая родилась и училась в Санкт-Петербурге. В профессиональной деятельности Сёдергран писала на шведском языке и печаталась в Гельсингфорсе, но ее первые стихи созданы на нескольких языках: немецком, шведском, французском и русском — в гимназический период, в 1907–1909 гг., и при жизни напечатаны не были. На примере семи стихотворений из записной книжки гимназического периода — «Коленкоровой тетради», написанных на немецком, французском и шведском языках, показано использование различных поэтических приемов, образность поэтической речи и тонкий лиризм. Стихотворения в предлагаемой подборке написаны в разных системах стихосложения. Высказывается предположение, что часть стихотворений носит тренировочный характер, связанный с программой гимназии. Несмотря на неоднородность первых стихотворных опытов, в них отчетливо проявляется способность Сёдергран передавать яркость и объемность изображений, рисовать в стихах выразительные динамичные картины, давать им эмоциональную окрашенность. Это убедительно подтверждают стихи, посвященные ее родному городу — Санкт-Петербургу, который способствовал развитию художественного вкуса Сёдергран, а также примеры на шведском языке, который дал свободу ее поэтическому слогу
The article focuses on the concept of time in human and global perspective in the poetry of two Swedish authors of the 19th century: Per Atterbom and Viktor Rydberg. These two poets belong to different branches of the Romantic movement. Atterbom represents the early mystic Romanticism and he is one of the first Romantic authors in Sweden. Rydberg is a post-Romantic poet: his poetic works contain features that are characteristic of the literature of Romanticism, but they were written in the last decades of the century. The theme of the power of time is one of the most important for both authors, it determines characters of lyrical heroes and poetics in many of their poems but in different ways. Atterbom represents the destructive power of time. Thus, the main characters of his fairy tale play “The Isle of Bliss”, Hyperborean king Astolf and nymph Felicia, live on a magical island and aspire to escape from Time, but Time overcomes them. Atterbom shows in his poetry that time hasn’t its limits in the world beyond. Rydberg represents the characters who try to apprehend the rules of time. The immortal mythological creatures in his poems (the Tomten, the elf of a river) cannot explain why time has such an influence on man and mankind. This theme corresponds with a philosophical matter of the meaning of human life. The humans in Rydberg’s lyrics do not try to overcome time as they perceive the nature and its rules throw their senses.
В статье рассматривается специфика сюжета в известном травелоге «Мой сын на галере» (1781) шведского автора Якоба Валленберга. Исследуются особенности, характерные для сюжетной структуры романа странствий (термин М. М. Бахтина) и литературного путешествия. «Мой сын на галере» представляет собой описание путешествия, совершенного автором из Швеции в Китай в 1769–1771 гг. Произведение обладает линейным, хронологическим сюжетом, включающим не только путевые, документальные материалы (в частности, информацию о географическом и демографическом положении стран, посещенных героем-повествователем, описания местной природы, традиций и др.), но и авантюрные эпизоды (например, о старых девах, напуганных появлением шведов; о судне, которое моряки приняли за пиратское; и др.). Разного рода отступления от основной темы — путешествия — иллюстрируют мысли герояповествователя, а природно-географические, этнографические, культурные и другие сведения, типичные для путевой прозы, занимают в книге «Мой сын на галере» незначительное место. В качестве основного предмета повествования выступает не посещение героем той или иной страны, а второстепенные, малозначительные, на первый взгляд, реалии окружающей действительности, а также навеянные путешествием размышления. В произведении встречаются также и главы, в которых речь идет о вещах, не имеющих прямого отношения к путешествию (например, насилие в семье и неверность жен). В результате предполагается, что травелог «Мой сын на галере» стоит у истоков шведской сентименталистской прозы, получившей развитие в конце XVIII в
Letters from Russia by Robert Watt, published in Denmark in 1867, were born as a result of the Danish writer’s trip to Russia to cover Princess Dagmar of Denmark’s arrival in Russia and wedding with Grand Duke Alexander Alexandrovich in 1866. Robert Watt was a journalist, a writer, a translator, and the artistic director of Tivoli Gardens amusement park from 1866 to his death in 1894. Letters from Russia contains seventeen chapters, in which the writer describes his impressions of his trip to Russia, from the moment he said farewell to Denmark standing on the deck of “Mermaid” frigate, which was raising sails heading to Kronstadt, to the ceremonial reception of the Danish Princess. Road diaries of those who travelled across Russia have always been an important source of information about the country and the epoch, and Robert Watt’s book is no exception. Watt’s book is partly a guidebook — he describes all places of interest in Moscow and St Petersburg, but he also ponders on specific features of life in Russia and the national character. Most of his characteristics are highly positive, he doesn’t pay much attention to unsightly sides of life. The observer’s assessment depends on their personality, previous experience, the recipient (in this case the book was aimed at the Danish reader), and the political situation. We could assume that as the writer was sent to Russia to cover Princess Dagmar of Denmark’s wedding he did not intend to pay attention to the ugly sides of the Russian life. Nevertheless, Robert Watt’s book, unknown to a wide audience in Denmark and Russia, is an important cultural monument which supplements the history of relations between Denmark and Russia
The legend of the Wandering Jew, which appeared in the Middle Ages, attracted the attention of writers and artists in many countries during several centuries. Ahasuerus has become one of the eternal images of world literature. This image was especially often used in the works of Romantic writers in the early 19th century. A Swedish poet Viktor Rydberg who was influenced by Romanticism used this character in several poetic works such as the ballad The Flying Dutchman (Den Flygande Holländaren, 1876) and two poems: Prometheus and Anasuerus (Prometeus och Ahasverus, 1882) and New Song of Grotti (Den nya Grottesången, 1891). In Rydberg’s lyrics, the Wandering Jew interacts with other eternal images of world culture such as the Flying Dutchman and Prometheus. His role as a stranger who witnessed a lot of different epochs and nations is emphasized in Rydberg’s poetry. Ahasuerus expresses critical judgments about modern people and actually opposes society which is the feature of Romantic characters. In the poem New Song of Grotti the image of Ahasuerus is connected with social problems. It might have been the influence of Sue’s novel The Wandering Jew. In contradiction to Romantic characters, Ahasuerus in Rydberg’s interpretation appears to be a sustainable person, which is specific to heroes of Naturalistic and Neo-Romantic Scandinavian works
The article discusses the issues of geopoetics in the works of Sara Ranta-Rönnlund and Mikael Niemi, recreating the Northern text based on the writings of the authors representing the Sámi and the Tornedalian varieties of literature. The choice of authors is determined by the connection of their biographies with the researched geographical space. In contemporary literary studies increasing attention is paid to the examination of texts interconnected by a unified geographical space. The Northern text is analyzed through references to specific places — such as conceptions of the Far North, Russian North, European North etc. In the works of Niemi and Ranta-Rönnlund the image of Norrland, the province of Norrbotten, and the region of Tornedalen is comprehensively analyzed. The main focus is on embodying the image of the North as a supra-textual unity and its realization in ethnic literature. The novelty of the research lies in the fact that the works of these authors have not been studied in domestic literary studies, which in turn opens up prospects for further research on local texts written in Swedish. The subject of the research is the Northern text of Swedish literature, while the object is the embodiment of the image of the North in the work Nådevalpar. Berättelser om nomader o nybyggare i norr by S. Ranta- Rönnlund and Populärmusik från Vittula by M. Niemi. Using comparative and descriptive methods the Northern text is analyzed through geographical, natural-landscape, spatial, historical-cultural, spiritual-moral, aesthetic, and other aspects. The North is characterized as a unique space, frontier and at the same time polar in relation to other regions of Sweden, a place of “communal spirituality”, “preservation” (not multiplication, but “conservation”) of everyday realities, its own dialect (the Sámi language and Meänkieli). The article reveals both common geopoetic dominants for the works of the authors and different, individuallyauthorial ones. The analyzed works, considered as a supertext, allow highlighting key meanings in interpreting the North in Swedish literature: frontier spirit, uniqueness, otherness, traditionality and naturalness
The paper analyses Karen Blixen’s short story “The Sailor-boy’s Tale”, which opens her collection “Winter’s Tales” (1942), in comparison with the Danish translation made by the author in the same year. The Danish text is considered the result of a process of auto-translation, recoding, and adaptation of the text for the Scandinavian reader. In the Danish version, the prose is more rhythmic and the descriptions are more vivid, which enhances the sensual authenticity. However, allusions to English and American authors and quotations are translated into Danish, which obscures their significance as markers of intertextual dialogue. Additionally, the dialogue with Scandinavian pretexts and paintings familiar to the Danish reader becomes more pronounced.
Artikeln redogör för hur den ryske tsaren Peter den store är avbildad och tolkad i några texter av vissa framstående nordiska författare vid slutet av 1800-talet och början av 1900-talet. Analysens medelpunkt står dock vid en kort novell av August Strindberg under rubriken ”Den store”, som ingår i samlingen ”Historiska miniatyrer” (1905). Förvånansvärt nog är denna berättelse ett exempel på en i högsta grad apologetisk tolkning av den berömde ryske regenten och hans dåd. Strindbergs bild av Peter den store läses ställd mot bakrunden av författarens ambivalenta inställning till tsarens främsta fiende Karl XII, samt till den svenska författarens självuppfattande och position inom samtida litterära kretser. Dessutom bekräftar novellen ”Den store” den providetialistiska historiesynen, som författaren förklarar vara huvudprincipen för sin uppfattning av historiens gång. Den ryske Peter blir alltså den, som till skillnad från den svenske Karl lyder Guds plan och vilja. I motsats till Strindberg antyder hans landsmän Selma Lagerlöf och Verner von Heidenstam en betydligt mindre komplimentär läsning av Peter och hans styre. Däremot uttrycker dansken Georg Brandes på 1880-talet och normannen Knut Hamsun i början av 1900-talet ett fullständigt godkännande av Peter I. Båda två gör det som följd av sina respektive Rysslandsbesök. Dock i fallet med Hamsun är detta godkännande väldigt svagt och kontroversiellt grundat. En av slutsatserna kan var den att när de ovannämnda författarna avbildar monarken i frågan är det snarare fallet av självprojektion än av historiskt berättande
The article focuses on the study of Hoffmann traditions in Selma Lagerlöf ’s novel “Gösta Berling’s Saga”. The features of Hoffman’s poetics in the novel are revealed by using the methodology of the “Hoffman’s complex”, which is an ideological and thematic complex of motives and stylistic techniques inherent in the works by E. T. A. Hoffman. The “Hoffmann’s complex” is manifested in the novel in the problem of the rebellion of the Romantic hero-creator in relation to faith and religion, the problem of the relationship of the Romantic hero with femininity, the opposition of secular and Christian love, the motive of mechanization of man and society in the new capitalist industrial formation. The features of Hoffmann’s poetics were manifested in the novel “Gösta Berling’s Saga” also in the interweaving of Hoffmann’s images (Don Juan (“Don Juan”), Medardus (“The Devil’s Elixirs”) and plots (a defrocked monk, who under the influence of wine as an incarnate temptation, commits crimes and experiences a split of personality (“The Devil’s Elixirs”) and a rebellious Romantic hero in search of an unattainable ideal world in which his disintegrated personality must find consolidation (“Don Juan”). The conclusion sums up that S. Lagerlöf, relying on the plot, problems and images of E. T. A. Hoffman’s works (“Don Juan”, “The Devil’s Elixirs”, “Adventure on New Year’s Eve”), creates the author’s concept of spiritual transformation of personality through Christian love and reconsiders the image of a Romantic hero, transforming it into a new type of Christian Neo-Romantic hero
This article explores the folklore components of Finnish rock poetry in Finnish and Swedish. It highlights how Finnish rock culture has revived an ancient tradition where poetry and music were intertwined. While musicians of Amorphis reference “Kalevala” mythology in the songs like “Tuonela”, “Sampo” and “Kantele”, they do not explicitly mention the names of “Kalevala” heroes in their adaptations of runes. The themes of their lyrics seem to take on a universal quality and are set in modern times. The influence of folklore traditions on Finnish authors is evident even in their English-language works. Ville Sorvali of Moonsorrow interprets the runes, trying to understand the intention of their creators, believing that these lyrics resonate with people worldwide. Similarly, Jan Jämsen (Katla), a Swedish-speaking Finn, infuses his native Swedish lyrics for Finntroll with imagery of fantastical creatures and incorporates Sámi folk chants joik to emphasize their uniqueness. Modern Finnish rock poetry stands out for its multilingualism and references to mythological themes from Finnish and Scandinavian folk poetry. However, the resurgence of metrics and imagery from the “Kalevala” and “Kanteletar” in rock poetry was unexpected. Authors use figurative symbolism that may require a deep understanding of Finnish culture to fully appreciate, even in Englishlanguage works. Finnish rock poetry is a diverse and vibrant art form that resonates with universal themes and emotions
This paper examines the representation of the “other” culture in 19 th-century travelogues, using the examples of Robert Watt’s Traveller’s account Letters from Russia (1867) and Bayard Taylor’s Northern Travel: Summer and Winter Pictures of Sweden, Denmark and Lapland (1857). The traditions of travelling and their reflection in both travelogues are presented, including the popularity of routes to Russia and Northern Europe. The cultural background of the travelogue genre of the mid-19th century is identified, as well as the characteristic features of travelogues, among which is the traveller’s perception of the “other” culture in comparison with his own culture or previously perceived ones. The subject of this study is the individual narrative strategies used by the authors to achieve the goal of conveying their own perception of the “other” world to the reader. A comparative analysis of the narrative structure and dialogicality of the authors’ narrative is made, including the representation of the “other” culture through the traditional documentary structure of travelogues; the static and dynamic nature of the narrative is revealed, the intention is the pinnacle of the journey. The consideration of the “other” culture analyses stereotypes specific to the regions of the narrative, the debunking or confirmation of pre-existing knowledge; the relationship between the cultural and natural features of the regions. The narrators’ immersion in the “other” culture and the narration of their own experiences and feelings during the journey are described. The inevitability of dialogue between “other” and “own” culture, their rapprochement or estrangement is the basis of the travelogue genre
- 1
- 2