[Diss.]--[Stockholm], [1996]. / Bibliogr. p. [392]-402. Index. Résumé en anglais.

No description available.

Thesis (doctoral)--Åbo akademi, 1987. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. [200]-211).

<p>The Swedish contemporary poet Ulf Karl Olov Nilsson (UKON) creates his poems by recycling and manipulating existing material. Though the overall opinion of his work has been positive, the idea that experimental poetry focus shape on the expense of content has led critics to either interpret the nonsensical and absurd aspects of UKON’s poetics as a consequence of the technical methods he uses to create his poetry, or to look beyond the nonsensical and absurd aspects to focus the fact that the poems creates meaning at all. The poems of UKON’s sixth collection of poems, Block (2005), differ from each other in many ways: some poems are lists and other revolves around a person – their content and construction vary and they can hardly be read as an expression of one persons thought. Still, the homogenous visual form creates a sense of uniformity – all the poems are shaped like blocks in different sizes, it has no page numbers and no names has been given the individual poems. By focusing the nonsensical and absurd aspects of UKON’s collection Block, and at the same time read the poetry through the light of the poetic context that UKON is connected to, this essays shows that UKON destroys and creates meaning in a way that is similar to the techniques used by the Victorian nonsense literature. As the Victorian nonsense literature make use of the language’s grammatical rules and genres to give the nonsense text a structure, UKON stages a reciprocal action between making use of and exceeding the conventional use of different language-contexts (e.g. erotic language or expressions such as “one must…”). Thus, the nonsensical aspects of UKON’s poetry are exposed as a consequent course of action to create and destroy meaning and Block can be read as a way to disclose how the language creates and maintains cultural clichés.</p>

<p><strong>Abstract</strong></p><p><strong> </strong></p><p>The topic of this essay is to show why I regard the <em>non fiction novel</em> as a problematic genre and to compare two popular and famous swedish non fiction novels; <em>Legionärerna</em> (1968) by Per Olov Enquist and <em>Gömda</em> (1995) by Maria Eriksson and Liza Marklund.</p><p>I start with giving a short introduction to modern genre theory and to non fiction novels as a genre. I also discuss different definitions of non fiction novels by, for example, Rolf Yrlid and Lars-Olof Franzén. Then I discuss Enquist’s <em>Legionärerna</em> and the critics’ reception of it. I am also doing the same with Eriksson’s and Marklund’s <em>Gömda</em> before I compare these two novels with each other.</p><p> </p><p>My conclusion is that <em>Legionärerna</em> and <em>Gömda</em> have a lot in common although there are some differences. One important difference is that the uncertainty between fact and fiction in <em>Legionärerna</em> seems to be an important part of the novel, in contrast to <em>Gömda</em> which has a political purpose but no discussion about objectivity and the limit between fact and fiction.</p><p>The big problem with non fiction novels, as I see it, is that a lot of people regards the genre as fact but according to a number of scholars it is more convenient too see it as a mixture between fact and fiction where the author both interprets and manipulates the actual events.</p><p>Though there are no established definition of what a non fiction novel is the author of a non fiction novel  has a responsibility to the reader to write in the beginning of the novel if the plot is true or not. We can compare this declaration by the author with a contract between the author and the reader which is cancelled if it turns out that the declaration is false.</p>

The Swedish contemporary poet Ulf Karl Olov Nilsson (UKON) creates his poems by recycling and manipulating existing material. Though the overall opinion of his work has been positive, the idea that experimental poetry focus shape on the expense of content has led critics to either interpret the nonsensical and absurd aspects of UKON’s poetics as a consequence of the technical methods he uses to create his poetry, or to look beyond the nonsensical and absurd aspects to focus the fact that the poems creates meaning at all. The poems of UKON’s sixth collection of poems, Block (2005), differ from each other in many ways: some poems are lists and other revolves around a person – their content and construction vary and they can hardly be read as an expression of one persons thought. Still, the homogenous visual form creates a sense of uniformity – all the poems are shaped like blocks in different sizes, it has no page numbers and no names has been given the individual poems. By focusing the nonsensical and absurd aspects of UKON’s collection Block, and at the same time read the poetry through the light of the poetic context that UKON is connected to, this essays shows that UKON destroys and creates meaning in a way that is similar to the techniques used by the Victorian nonsense literature. As the Victorian nonsense literature make use of the language’s grammatical rules and genres to give the nonsense text a structure, UKON stages a reciprocal action between making use of and exceeding the conventional use of different language-contexts (e.g. erotic language or expressions such as “one must…”). Thus, the nonsensical aspects of UKON’s poetry are exposed as a consequent course of action to create and destroy meaning and Block can be read as a way to disclose how the language creates and maintains cultural clichés.

Abstract   The topic of this essay is to show why I regard the non fiction novel as a problematic genre and to compare two popular and famous swedish non fiction novels; Legionärerna (1968) by Per Olov Enquist and Gömda (1995) by Maria Eriksson and Liza Marklund. I start with giving a short introduction to modern genre theory and to non fiction novels as a genre. I also discuss different definitions of non fiction novels by, for example, Rolf Yrlid and Lars-Olof Franzén. Then I discuss Enquist’s Legionärerna and the critics’ reception of it. I am also doing the same with Eriksson’s and Marklund’s Gömda before I compare these two novels with each other.   My conclusion is that Legionärerna and Gömda have a lot in common although there are some differences. One important difference is that the uncertainty between fact and fiction in Legionärerna seems to be an important part of the novel, in contrast to Gömda which has a political purpose but no discussion about objectivity and the limit between fact and fiction. The big problem with non fiction novels, as I see it, is that a lot of people regards the genre as fact but according to a number of scholars it is more convenient too see it as a mixture between fact and fiction where the author both interprets and manipulates the actual events. Though there are no established definition of what a non fiction novel is the author of a non fiction novel  has a responsibility to the reader to write in the beginning of the novel if the plot is true or not. We can compare this declaration by the author with a contract between the author and the reader which is cancelled if it turns out that the declaration is false.

Denne oppgaven omhandler den historiske romanen Livläkarens besök av Per Olov Enquist. Min problemstilling i arbeidet med romanen har vært: Fremstilling av historie, kjønn og makt i Livläkarens besök, der jeg hovedsakelig ser på hvordan Enquist velger å fremstille en fortidig historie, med fokus på romanens kvinner og deres makt. Intensjonen er ikke å påpeke feil i Enquists historiekonstruksjon, men å vise hvordan han fremstiller, og legger vekt på enkelte av historiens elementer. Innledningsvis skriver skisserer jeg først romanens handling, og deretter min problemformulering. Jeg skriver videre litt om hvem Per Olov Enquist er, og hvordan han har utvikler sin særegne skrivestil som han er så kjent for. Videre prøver jeg å definere hva en historisk roman er, og hvordan den kan skilles fra faglig historieskriving, da Enquist ofte tilsynelatende legger seg tett opp mot denne faglige normen i Livläkarens besök. Både faglig historieskriving og skjønnlitterær skriving er preget av narrative strukturer, og er en prosess som innebærer valg. En historisk beretning, uansett type, kan derfor ikke være fullstendig objektiv. Deretter skriver jeg om Livläkarens besök som historisk roman, og hvordan Enquist konstruerer en historie, og velger ut elementer han ønsker å fremstille. Jeg sammenligner Enquists fremstilling med historiske kilder for å vise hvordan beretningen er preget av valg, fortellerstil og retoriske grep, men også for å vise hvordan Enquist har ilagt romanen normer og verdier som er typiske for hans egen samtid. I siste kapittel kommer oppgaven inn på hvordan Enquist har fremstilt kjønn og makt, og da spesielt kvinner, i Livläkarens besök. Her viser jeg hvordan romanens kvinner har fått betydelig posisjoner i Enquists historiefremstilling, som i ulik grad kan gjenfinnes i historiske kilder. Dette viser romanens ”ønske” om å fremstille en historie som tidligere har vært oversett, og samtidig hvordan romanens normer og verdier henger sammen med forfatterens- og vår egen tids oppfatninger.

Zugl.: Kiel, Univ., Diss., 2007

By conceptualizing repetition with the Swedish avantgarde aesthetics of the 1960s as a point of departure, this thesis argues that the repetition phenomena in the mature works of Per Olov Enquist (1934–2020) are indebted to the period. Hereby it brings together two major trends in the Enquist research that previously have been separate. In accordance with the main tendency of the period, the Enquistian repetitions reuse concrete constituents and are of technical and combinatory nature. According to the taxonomy introduced in the thesis, they are mainly internarrative, i.e., they transcend the limits of the individual stories. Thus, in Enquist, the superficial, anti-mimetic as well as anti-hermeneutical qualities pertaining to the period are a consequence of the specifically internarrative character of the repetitions, whereas the individual stories remain mimetically coherent. Furthermore, the thesis investigates a metapoetic discourse in the mature works; in part, it demonstrates a continuity between this discourse and the non-metapoetic notion of repetition in Enquist’s novels of the ‘60s. Altogether, the thesis proposes a way of historically situating the Enquist oeuvre as a whole; supposedly, it will contribute to further studies with similar aims.