Suchergebnisse

Resandefolket har nästan aldrig fått vara med i böcker för sin egen skull och har sällan fått huvudroller. De har plattats till för att fullgöra stereotypens grundläggande uppgift: att spegla huvudpersonerna och deras problem. Det har, enligt stereotypens logik, oftast skett genom att ?tattarna? fick utgöra förskräckande avvikelser från det normala eller något exotiskt och lockande. På så sätt normaliserade de det normala. De skapade trygghet eller kanaliserade längtan.00Redan när den svenska romanen fick sitt breda genombrott fick resande- eller romanifolket en plats i den. De resande benämndes ?tattare? och fogades in även i de stora, kanoniserade författarskapen, allra först i Carl Jonas Love Almqvists Tre fruar i Småland från 1842.00?Tattar?-motivet lever kvar i svensk skönlitteratur. Ofta är bilden av ?tattarna? lika förgrovad och förenklad som förr. Men undantag finns. Bland de böcker som visar gedigna kunskaper om gruppens historia utmärker sig Sven Rosendahls Gud fader och tattaren som utkom redan 1951 och Ragnar Järhults Andreas och Emilia. En tattarroman (1984).00I den här boken följs ?tattar?-motivet genom drygt åttio skönlitterära prosaverk skrivna av flera stora namn i den svenska litteraturhistorien: August Strindberg, Stig Claesson, Eyvind Johnson, Majgull Axelsson, Kerstin Ekman, Sara Lidman med flera. Verken relateras alla till det som är känt om resandefolkets historia och kultur

During the 1920s and 1930s the wordless novel – stories told in black-and-white wordless woodcuts – was established as a narrative genre. The genre was most popular in Germany, but was as well known in other parts of Europé and in the US. The wordless novel was characterized by the absence of words, the use of woodcut and other relief printing techniques, as well as themes of social critique and serious existential issues.
The purpose of the book is to - through the wordless novels of the 1920s and 30s - explain the uniqueness of the wordless narrative and thus the autonomous narrative possibilities of the image. The method of the examination is a close reading of the German artist Otto Nückel's wordless novel Schicksal (Destiny 1926). A comparative material consists of the Czech artist Helena Bochořáková-Dittrichova's wordless novel Z Mého Dětství (From My Childhood, 1929). Wordlessness is studied through the image's characteristics as an intermediary of messages and narratives and through comparisons with other expressions - the silent film, cirkus, expressionist dance and visual art, as well as medieval woodcuts. Narratives – which are usually put together by verbal communication – are in this project a tool for seeing: the image sequences or the image groups that ""replace"" the words - not as a lack or implied meaning of words, but as a personal visual story.

Summary

Locating the beginning of the modern state-church debate at the end of the Protestant Reformation, the article (1) briefly traces the development of Pufendorf's theory of the church as a collegium under state law & the opposing doctrine of the Catholic Church as a societas perfecta independent of the state; (2) surveys the state-church relationship in Germany, Switzerland, & France; & (3) summarizes the development in Swedish law toward greater freedom of religion up to the most recent reforms, decoupling the (Lutheran) Church of Sweden from the state machinery (while retaining ultimate state control). Noting that, apart from the Church of Sweden, religious groups may only, now as previously, organize themselves in private-law associations, it concludes that the recent reform has preserved the traditional Swedish structure along majoritarian lines by endorsing Pufendorf's theory, thus in a sense further pursuing the Protestant Reformation in Sweden. 84 References. Adapted from the source document.