{"title":"Scandinavian Transformations of Dracula","authors":"Ingmar Söhrman","doi":"10.35360/njes.626","DOIUrl":"https://doi.org/10.35360/njes.626","url":null,"abstract":"A couple of years after the publication of Bram Stoker’s classic vampire novel Dracula, different versions were published in one Icelandic and two Swedish newspapers. The Icelandic version could be a translation of the shorter Swedish version. Both explore the Transylvanian part considerably. The longest version of Morkrets makt was republished in Swedish in 2017. What is intriguing is that no English original has been found, and the question is whether an original exists or has existed or if the Swedish and Icelandic newspapers have expanded on the text, and whether this was done with Stoker’s consent or not? International copyright laws were not signed by these countries at that time, but there are hints that Stoker had accepted these new parts, but did he? The importance of copyright is still truly relevant, so this will be discussed briefly. Another significant aspect is that the ‘Scandinavian’ Dracula turns out to have fascistic ambitions. The intention here is to analyse the texts, compare them and see to what extent they coincide and if it is possible to see whether somebody else has written the new parts of Dracula or if it seems to be a homogeneous work by Stoker, where the author for some reason had chosen to leave out some parts or has added parts later.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87175453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Happeners…don’t merely dig the scene, they make it’: The Social Meaning of the Work of Art in Allan Kaprow’s Happenings","authors":"Laura Routledge","doi":"10.35360/njes.617","DOIUrl":"https://doi.org/10.35360/njes.617","url":null,"abstract":"This paper looks at Allan Kaprow’s Happenings through the framework of Peter Burger’s 1971 Theory of the Avant-Garde. It suggests that Kaprow’s Happenings project can be read as a detailed investigation into the way in which the category ‘art’ was formulated in his society, and an exploration of alternative possibilities for the social meaning and function of works of art excluded by this dominant ontology. The paper focuses specifically on Kaprow’s interrogation of the dominant understanding of the relationship between the art work and the spectator in the mid-century American art world, and the alternatives to this model that his Happenings proposed. Throughout the course of the 1960s, I demonstrate, Kaprow painstakingly explored and developed these alternatives, slowly formulating a model for the social function and meaning of the category ‘art’ that decentred hegemonic ideas about artistic autonomy and sought to ‘reintegrate art into the praxis of life’ (Burger, 22).","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"113 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79732745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘The new messiah of the battlefields’: The Body as Discursive Strategy in Dalton Trumbo’s Johnny Got His Gun","authors":"Wade A Bell","doi":"10.35360/njes.615","DOIUrl":"https://doi.org/10.35360/njes.615","url":null,"abstract":"This article discusses the discursive significance of the body in Dalton Trumbo’s classic anti-war novel, Johnny Got His Gun (1939). With its political rants, depictions of working-class life, symbolic imagery, and vivid descriptions of the dismembered torso of its protagonist, the human body emerges in Trumbo’s novel as our primary vehicle for being-in-the-world, as well as the figurative weight that grounds us in it. Following this logic, human freedom and autonomy appear to be curtailed by our own corporeal limitations, coupled with our involvement in a world of oppressive hierarchal systems and reified social relations. Building on the works of Maurice Merleau-Ponty, Mikhail Bakhtin, Georg Lukacs and others, this study reveals a dialectic at work within Johnny between what can best be described as the phenomenal, reified, and grotesque bodies. While the phenomenal body of Merleau-Ponty’s phenomenology emphasizes relative autonomy and embodied subjectivity, the reified body represents humankind in a completely objectified state. My analysis illustrates how Trumbo’s text creates a tension between these two conceptions of being, while employing grotesque realism—a subversive literary mode utilizing the degraded image of the body—to inspire change in the real world.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90042548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An Excursion on Land","authors":"Mats Mobärg","doi":"10.35360/njes.623","DOIUrl":"https://doi.org/10.35360/njes.623","url":null,"abstract":"A fundamental aspect of political language is the words we use for potentially contentious political-cultural concepts, as well as how we use them. This paper investigates the use of the noun land in a small sample of English authors, from Shakespeare to Virginia Woolf, comparing that use to how the same authors use the nouns country and nation, as presented in a previous paper along the same lines. In addition to simple frequencies, the combinatory potential of the noun land is examined. Special attention is paid to the use of land in the works of Shakespeare and Marie Corelli. Land in Shakespeare was shown to have a higher combinatory potential than country, which was ascribed partly to the formal properties of the word, partly to its suitability as part of Shakespeare’s imagery, in the context of the political situation in England in the late sixteenth century. Corelli’s abundant use of land is seen as exaggeratedly symptomatic of Victorian style, which has contributed to the word being stylistically marked in present-day English. A general finding is that land, even when used in a political sense, retains some of its concrete meaning, which may contribute to its rhetorical usefulness.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85006279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Of course, it didn’t work—that kind of scheme never does’: Scotland, the Nordic Imaginary, and the Mid-Twentieth-Century Thriller","authors":"J. Kennedy","doi":"10.35360/njes.625","DOIUrl":"https://doi.org/10.35360/njes.625","url":null,"abstract":"In the course of the last two decades, nationalist politics in Scotland have pivoted away from positing a civic identity founded on traditionally Celtic motifs—clans, tartan, the Gaelic language—in order to instead imagine an independent country closely resembling its Nordic near-neighbours in economic and cultural terms. Eulogising the Nordic welfare model, some secessionists have even suggested that a post-UK Scotland could join the Nordic Council. This article seeks to contextualise conceptualisations of Scottishness which lean on the ‘Nordic’ by examining representations of Northern Europe, and Scotland’s place within it, in two mid-twentieth-century Scottish thriller novels, John Buchan’s The Island of Sheep (1936) and Eric Linklater’s The Dark of Summer (1956). Respectively a unionist and a nationalist, Buchan and Linklater find opportunities in their work to explore both continuities and discontinuities between Scotland and the Nordic countries, and both demonstrate—with varying degrees of criticality—the extent to which a putative ‘Nordic Scottishness’ slips too easily into an exclusionary cultural logic. Drawing on geocriticism, this article will problematise efforts to re-found Scottish nationalism on the basis of a Nordicised cultural identity.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89747717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Women Writers of The Troubles","authors":"Britta Olinder","doi":"10.35360/njes.621","DOIUrl":"https://doi.org/10.35360/njes.621","url":null,"abstract":"During the thirty years of the Troubles in Northern Ireland, writing by women was difficult to find, especially concerning the conflict and its violence. The publication of the first three heavy volumes of The Field Day Anthology of Irish Writing towards the end of that period demonstrated the blindness of its male editors to female writing, leading to another two volumes focusing on women and also presenting more than expected on the conflict itself. Through looking at a selection of prose, poretry and drama written by women, this article wishes to illuminate a number of relevant issues such as: How have female writers reacted to the hate and violence, the social and political insecurity in their writing of poetry, plays and fiction? Is Robert Graecen’s question ‘Does violence stimulate creativity?’—in a letter to the Irish Times (18 Jun. 1974)—relevant also for women? In this very partial exploration, I have chosen to discuss a novel by Jennifer Johnston (Shadows on Our Skin, 1977) and one by Deirdre Madden (One by One in the Darkness, 1996), a well-known short story by Mary Beckett (‘A Belfast Woman,’ 1980), together with plays by Anne Devlin (Ourselves Alone, 1986) and Christina Reid (Tea in a China Cup, 1987), as well as poetry, by, among others, Meta Mayne Reid, Eleanor Murray, Fleur Adcock and Sinead Morrissey.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80081600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sexual Politics Revised: A Feminist Re-Reading of D. H. Lawrence’s The Rainbow and Women in Love","authors":"Fereshteh Zangenehpour","doi":"10.35360/njes.620","DOIUrl":"https://doi.org/10.35360/njes.620","url":null,"abstract":"In his work, D. H. Lawrence has paid particular attention to the question of (in)visible alliances between the sexes, where the position of power and dominance often is not fixed but is negotiable and constantly in the process of (re)vision. My paper examines Lawrence’s experimentation with definitions and boundaries of public and private gender roles. Both The Rainbow and Women in Love are a good starting point for this inquiry, since the relationship between the male and female characters are problematized in a conscientious and distinctive fashion. Therefore, it is interesting to study the relationship between the characters and see how femininity and masculinity influence each individual’s gender identity, and as a result their gender performance. Additionally, Lawrence consolidates a feminine significance remarkably similar to the disruption, excess, and pleasure celebrated by poststructuralist French feminists as écriture féminine. These novels represent the disruptive power of feminine signification, both on personal and sociopolitical levels, and end with that power still in play. They get to the heart of the conceptual difficulties of gender differences, gender identity and gender performance. They also take on this feminist imperative to define the intensity and changes necessary in personal and cultural life of the modern age, manifesting and maintaining new and different possibilities for subjectivity. I use Luce Irigaray, Hélène Cixous and Judith Butler’s discussions on the concepts of femininity and the feminine subject. I also refer to their gender theories as foundational models to study the conflict and shift between the gender roles in the two-gendered system of cultural norms and ideals in the world of these two novels.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"112 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80660180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Sligo made me and Sligo undid me’: Mental Health, Coercive Confinement and Repression in Sebastian Barry’s The Secret Scripture","authors":"Åke Persson","doi":"10.35360/njes.622","DOIUrl":"https://doi.org/10.35360/njes.622","url":null,"abstract":"In recent years, the institution of the mental asylum in Ireland has been given much attention. For example, the TV documentary, Behind the Walls (2011), focused on mental health care in post-independence Ireland. It brought up the often gruesome conditions under which the asylum forced the patients, or inmates, to live. It also revealed how the mental health regulations were misused by doctors, priests and families at the local level to get rid of individuals who in various ways did not conform to the community’s norms; indeed, it was not uncommon that once a person had been committed to an asylum, he or she had to remain there for a very long time, sometimes for many decades. This is the fate of the protagonist Roseanne Clear/McNulty in Sebastian Barry’s novel The Secret Scripture. Towards the end of her life, still in the Leitrim psychiatric hospital after several decades, Roseanne writes her own story. What emerges is that she has been the victim of external forces and harsh sociocultural norms dominant in the Irish Free State. Drawing on Michel Foucault’s ideas in Madness and Civilization, as well as research on Irish mental asylums, this article examines how a repressive system uses mental health and the mental health care system as a tool to excise an individual perceived to be a threat to the social order, an order carefully policed by the Catholic Church, mainly represented by the priest, Father Gaunt.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88816758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Technologies of Affect in D. H. Lawrence’s Lady Chatterley’s Lover","authors":"Margrét Gunnarsdóttir Champion","doi":"10.35360/njes.619","DOIUrl":"https://doi.org/10.35360/njes.619","url":null,"abstract":"As stated in ‘A Propos of Lady Chatterley’s Lover,’ Lawrence’s novel depicts the ‘counterfeit emotional life’ as symptomatic of the post-war capitalist nation and hegemonic machine culture. Not only do lords of industry such as Lord Chatterley reify and exploit the working class but the various state apparatuses, in the form of housing development, landscaping, publishing and the media, ideologically interpellate citizens by manufacturing taste, sensation and affect. An early conversation at Wragby Hall among ‘the young intellectuals of the day’ affirms that all social formations of the day, the bourgeois state as well as bolshevist Russia, operate according to the laws of the machine, driving even the younger generation to value display of success and power over the vital principles of life. Even the artists are duped, manipulating the publishing industry to produce images of themselves as ‘the most modern of modern voices.’ Perhaps, in Lady Chatterley’s Lover, the human body itself has been most severely devalued, turned into a field of thrills, flirtings, coquetries, games and ‘sex things.’ My essay primarily examines how Lawrence’s novel both diagnoses this ‘imaginary body’ and manufactures an alternative desiring machine through attention to, what Brian Massumi calls, ‘pre-signifying’ affect, motilities of flesh, rhythm, touch, musical sound, gropings toward the other. Although the lovers, Connie Chatterley and Oliver Mellors, are at the center of such an investigation, habitats of nature interface with the human world. What I emphasize is the expression of the complex ecological awareness in the novel: it is possible to view the connection to nature through Connie’s perspective as a ‘becoming,’ an approximation, which educates and opens up the human body to life-sustaining affect: tenderness, pleasure, sorrow, courage and passion.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"257 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82951238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aiming for a Middle Ground: Mary Hays’s Appeal to the Men of Great Britain and the Challenge of Perspective","authors":"Helena Bergmann","doi":"10.35360/njes.554","DOIUrl":"https://doi.org/10.35360/njes.554","url":null,"abstract":"In 1798, a year after the death of the renowned feminist Mary Wollstonecraft, her friend, the Unitarian writer and polemist, Mary Hays, authored her own tract on the subject of women’s liberation. Entitled Appeal to the Men of Great Britain in Behalf of Women, the publication was not intended to compete with Wollstonecraft’s fiery A Vindication of the Rights of Woman. Hays wished to address the major societal issue of inequality between the sexes from a less adversarial angle. As opposed to Wollstonecraft, in her introduction, Mary Hays assumes a posture of humility when stating her ambition: ‘to restore female character to its dignity and independence.’ This paper discusses the rhetorical devices employed by Hays to modify the engrained ideas of her anticipated male readers. Her tract is divided into a set argumentative sequences in the shape of seven chapters. The first of these calls in question the reliance on the Scripture as a foundation for the acceptance of the male-female hierarchy. The second seeks to invalidate the conviction that the subjection of women’s in society could be condoned through rational causes. The third and fourth chapters give an overview of some major, misconceptions of men with regard to women’s capabilities. Chapter five and six illustrate plentiful examples of unsavoury realities of female existence. In the last chapter of the Appeal, Mary Hays delivers a set of exhortations and hopeful recommendations for effectuating a change. The overall aim of the paper is to identify and analyse Hays’s strategy for converting the opposite sex, not through revolutionary ferocity or meek supplications, but through constructive persuasiveness. In a concluding section some supportive male intellectuals are introduced to illustrate Hays’s achievement of a middle ground on which to communicate.","PeriodicalId":35119,"journal":{"name":"NJES Nordic Journal of English Studies","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81332263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}