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  • 1. Bal, Mieke
    Don Quijote: Sad Countenances2019Book (Other academic)
  • 2.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Davidsson, Matilda
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    The Ecological Crisis and Intermedial Studies2024In: The Palgrave Handbook of Intermediality / [ed] Bruhn, Jørgen, López-Varela, Asunción & de Paiva-Vieira, Miriam (red.), Cham: Palgrave Macmillan, 2024, p. 1033-1059Chapter in book (Other academic)
    Abstract [en]

     

    This chapter introduces The Linnaeus University Centre for Intermedial and Multimodal Studies (IMS) and presents the theoretical and institutional legacy of its founder Lars Elleström to the field of intermedial studies.We present central aspects of his theoretical framework and we discuss how concepts such as the media product, the media modalities, and media transformation respond to central challenges in intermedial theory. Also, we demonstrate how they have been applied in intermedial analysis at IMS and internationally as a flexible framework that can be connected with approaches to media. Finally, we put forth some of the challenges to Elleström’s framework as a media-centered model of communication and hint at possible ways to meet these.

  • 3.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Davidsson, Matilda
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    The Ecological Crisis and Intermedial Studies2023In: The Palgrave Handbook of Intermediality / [ed] Bruhn, J., López-Varela, A., de Paiva Vieira, M., Palgrave Macmillan, 2023, Living reference work editionChapter in book (Refereed)
    Abstract [en]

    Taking the human-induced ecological crisis as our starting point, in this chapter we discuss the implications of how this crisis is communicated. The knowledge and data produced by the natural sciences is mediated and communicated in different ways to the public and after a review of central traditions relating to this question, we argue that there is a need for a theory of comparison that can encompass different disciplines and aesthetic forms of media. We combine an intermedial toolbox of terms introduced by Lars Elleström, most notably his concept of “transmediation,” with the field of ecocriticism that originates in literary studies but today encompasses a broader definition of media representing the ecological crisis. This we call intermedial ecocriticism, which has theoretical and methodological implications for the analysis and comparison of ecomedia. We exemplify this by discussing existing research from intermedial scholars as well as with a case study regarding representations of future food cultures from the website Eatforum.org and in the sci-fi movie Blade Runner 2049.

  • 4.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Lutas, Liviu
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Media Representation: Film, Music and Painting in Literature2022In: Intermedial Studies: An Introduction to Meaning Across Media / [ed] Jørgen Bruhn;Beate Schirrmacher, Routledge, 2022, p. 162-193Chapter in book (Refereed)
    Abstract [en]

    In Nick Hornby’s novel High Fidelity (1995), the life of the protagonist Rob revolves around records and popular music. Throughout Virginia Woolf’s novel To the Lighthouse (1927), the painter Lily Briscoe works on a portrait of her friend Mrs Ramsay. In James Joyce’s Ulysses (1922), Leopold Bloom’s thoughts, memories and associations are informed by newspaper headlines, snatches of songs, advertising slogans and poster headlines as he walks through the streets of Dublin.

    In media types such as novels, paintings, films, computer games and news articles, we encounter characters, avatars or persons that interact with pictures, musical instruments, photos, computers, record players, newspapers or television sets or go to football games. Still, how do we know that the representation of media products or mediatypes means something? Or that references to familiar media types have a symbolic value? In this chapter, we will demonstrate how the representation of media can be analysed. We will focus on narrative literature, but the analytical method is applicable to film, computer games, photography and visual art as well. In the first part of the chapter, we will explore media that are represented inside the diegetic universe.  In the second part of the chapter, we will turn to novels whose narrative structure and style remind readers of other medial experiences, such as watching a movie, looking at an image or listening to music. The effect of structural media representation is to give the impression that the literary text imitates film, music or images. It changes the experience ofreading and draws attention to aspects of literature and language that we usuallypay less attention to.

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  • 5.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Löwe, CorinaLinnaeus University, Faculty of Arts and Humanities, Department of Languages.Lutas, LiviuLinnaeus University, Faculty of Arts and Humanities, Department of Languages.Rossholm, Anna SofiaLinnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.Salmose, NiklasLinnaeus University, Faculty of Arts and Humanities, Department of Languages.Tornborg, EmmaLinnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.Almgren White, Anette
    Ekfrase: Nordisk Tidsskrift for Visuell Kultur2016Collection (editor) (Refereed)
  • 6.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Intermedial Ecocriticism2024In: Contemporary Ecocritical Methods / [ed] Camilla Brudin Borg;Rikard Wingård;Jørgen Bruhn, Lanham: Lexington , 2024, p. 223-242Chapter in book (Refereed)
  • 7.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Intermedial ekokritik2022In: Ekokritiska metoder / [ed] Camilla Brudin Borg; Jørgen Bruhn; Rikard Wingård, Lund: Studentlitteratur AB, 2022, p. 233-258Chapter in book (Refereed)
  • 8.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Schirrmacher, Beate
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Tornborg, Emma
    Malmö University, Sweden;Karlstad University, Sweden.
    Truthfulness and truth claims as transmedial phenomena2022In: Intermedial Studies: An Introduction to Meaning Across Media / [ed] Jørgen Bruhn; Beate Schirrmacher, Routledge, 2022, p. 225-254Chapter in book (Refereed)
    Abstract [en]

    This chapter explores different relations of truthfulness and discusses the truth claims of the different qualified media types. Truthfulness is a transmedial notion and when we speak of truth in different contexts, we refer to different kinds of knowledge. Truth, facts and authenticity are often used in everyday discourse as part of apparently clear-cut binaries like truth–lie, authentic–fake, fact–fiction. The truth claims of media can be employed in communication to produce a perception of truthfulness. As media products can be truthful both in relation to external perception or inner experience, another way to look at truth claims is to divide them into objective and subjective truth claims. The chapter discusses how different forms of disinformation draw on the truth claims of news media and construct a perception of truthfulness that is based more on internal coherence than on events that actually have taken place.

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  • 9. Fitzgerald, F. Scott
    Tarleton2021Book (Other academic)
  • 10.
    Grennberger, Martin
    et al.
    Walden, Sweden.
    Holmström, Andreas
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Andas i alexandriner: Intervju2019In: Apropå Eric M.: En antologi om Eric M. Nilssons filmer / [ed] Andreas Holmström, Stockholm: Trolltrumma , 2019, p. 17-42Chapter in book (Other academic)
  • 11. Holmström, Andreas
    et al.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Förord2019In: Apropå Eric M.: En antologi om Eric M. Nilssons filmer / [ed] Andreas Holmström, Röstånga: Trolltrumma , 2019, p. 7-8Chapter in book (Other (popular science, discussion, etc.))
  • 12.
    Höglund, Johan
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Climate diaspora and future food cultures in Snowpiercer(2013) and The Road (2009)2024In: Food, Culture, and Society: an international journal of multidisciplinary research, ISSN 1552-8014, E-ISSN 1751-7443, Vol. 27, no 2, p. 310-325Article in journal (Refereed)
    Abstract [en]

    This article takes as its starting point the realization that existing food regimes and the food systems that enable them are the main drivers of climate change. This, the article notes, is a systemic challenge, but also a profoundly cultural issue as the way that people eat is deeply connected to questions of identity and belonging. The article enters this field of inquiry by studying how the awareness that current food systems are unsustainable is being mediatized and narrated in popular fiction and film. This media often depicts humans in worlds where the current food system has collapsed, forcing also people in the Global North to move or otherwise adapt to a changing climate, and, in the process, to profoundly alter the way they eat. The article discusses two visual texts: Bong Joon-ho’s Snowpiercer (2013), and John Hillcoat’s The Road (2009). The analysis of these texts shows that they employ food, eating and migration to make life in a future transformed by climate change comprehensible to the reader. The article also investigates how the fiction studied connects food and eating to the existing world-system and thus to the material history that is driving the climate crisis.

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    Climate diaspora and future food cultures in Snowpiercer (2013) and The Road (2009)
  • 13.
    Jensen, Signe Kjaer
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Media and Modalities: Film2022In: Intermedial Studies: An Introduction to Meaning Across Media / [ed] Jørgen Bruhn; Beate Schirrmacher, Routledge, 2022, p. 28-41Chapter in book (Refereed)
    Abstract [en]

    When someone tells you about a film they have just seen, you would probably assume that the film in question is a film with sound that is based on recorded colour images of actors acting out a narrative, complete with synchronized dialogue, sound effects and music. The noun ‘film’ is ambiguous, however. The Merriam-Webster online dictionary provides eight different uses of the word – ranging from things such as food wrapping to the more relevant material of celluloid used for photographic imprints and film as a specific type of artistic object (Merriam-Webster 2020).

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  • 14.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    1918-192024In: F. Scott Fitzgerald: A Composite Biography / [ed] Niklas Salmose;David Rennie, Minneapolis: University of Minnesota Press , 2024, p. 181-201Chapter in book (Refereed)
  • 15.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    A Method of Analyzing Emotional Experiences in Fiction2017In: Narrative and Experience – concept workshop: University of Tampere, Mon 18 Sep 2017, 2017Conference paper (Other academic)
  • 16.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    A sudden beat of clock time: [ review ]2018In: Entre-lieux: chez Collections artistiques de l'Université de Liège / [ed] Elisabeth Waltregny, Liège: Musée Wittert ULiège , 2018, p. 62-63Chapter in book (Other (popular science, discussion, etc.))
  • 17.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Anthropocene Nostalgia2024In: The Routledge Handbook of Nostalgia / [ed] Tobias Becker;Dylan Trigg, Routledge, 2024Chapter in book (Refereed)
    Abstract [en]

    his chapter aims to review the contemporary theorizations that surround nostalgia and the current Anthropocene conditions. Nostalgia is primarily conceptualized as a critical tool that not only allows a deeper understanding of the resistance to acknowledge the dangers of the climate crisis but also presents ways to counteract it. The first section of this chapter discusses the relation of nostalgia to the “pastoral” mode of environmental representation and the general capacity of nostalgia to facilitate ecological agency. The second section of this chapter is dedicated to the discussion of “petro-nostalgia”. Through the reference to different works of art, the section sets out to examine various mediations of nostalgia for preceding auto cultures, nature lost to oil dependence, and pre-capitalist times of “innocence”. In the third section, other nostalgia-related emotional registers concerned with environmental loss are addressed. In particular, “green trauma”, “solastalgia”, “eco-nostalgia”, “geotrauma”, “planetary melancholy”, and “socioecological melancholy” help to capture the intricate emotional attachments that one might have to the landscapes disappearing due to climate change and extinction of species. The fourth section briefly touches upon the role of the aesthetics of nostalgia in mediating the experience of living in the age of the Anthropocene. At last, the final section introduces the definition of Anthropocene nostalgia, bringing to the fore its political potential to affect the status quo.

  • 18.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    “A past that has never been present”: the literary experience of childhood and nostalgia2018In: Text Matters: A Journal of Literature, Theory and Culture, ISSN 2083-2931, E-ISSN 2084-574X, Vol. 8, no 8, p. 332-351Article in journal (Refereed)
    Abstract [en]

    This essay explores the modernist aesthetic involved in creating a fictive, nostalgic, childhood experience. Evoking the experience of childhood through fiction is as close to actually reliving childhood as we can get. The author argues that it is possible to actually transport the reader into not only the idealized world of childhood, but more so into an embodied experience of childhood through the use of different kinds of narrative and stylistic configurations. In a stylistic and narratological analysis of three modernist novels, Virginia Woolf’s The Waves (1931), Tarjei Vesaas’ The Ice Palace [Is-slottet] (1963) and William Faulkner’s The Sound and the Fury (1929), the author explores the different ways that literature can create (or re-create) the very experience of childhood through literary style. The strategies involved in establishing a fictive experience of childhood extend from narratological choices such as free indirect style, strict focalization through a child in the narrative (which implies limitations in perception and cognitive abilities, as well as in linguistic terms) to the use of a child-like temporality, the hyperbolic use of phenomena, and an emphasis of the sensorial aspects of perception.

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  • 19.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Art About Nostalgia or Nostalgic Art?2018In: Once Upon a Time: Nostalgic Narratives in Transition / [ed] Niklas Salmose, Eric Sandberg, Stockholm: Trolltrumma Academia , 2018, p. 127-139Chapter in book (Refereed)
  • 20.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Behemoth, Nostalgia and Ecological Agency2019In: Futures Worth Preserving: Cultural Constructions of Nostalgia and Sustainability / [ed] Andressa Schröder, Nico Völker, Robert A. Winkler, Tom Clucas, Bielefeld: Transcript Verlag, 2019, p. 239-256Chapter in book (Refereed)
  • 21.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Can a Proletarian Writer Be a Modernist?: A Study of Swedish Proletarian Writers in a Modernist Context2016In: AMSN3: Modernist Work. University of New South Wales, Sydney. 29-31 March, 2016, 2016Conference paper (Refereed)
  • 22.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Cometalgia: Fear and Thrill in Nostalgic Cometology2022In: Cultural Comets and Other Celestials / [ed] Niklas Salmose & Amanda Silfver, Växjö: Trolltrumma Academia , 2022, p. 107-131Chapter in book (Refereed)
  • 23.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Contemporary Nostalgia2019Collection (editor) (Refereed)
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  • 24.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Current Issues in Fitzgerald Studies: F. Scott Fitzgerald: A Composite Biography2019In: Place and Placelessness - The 15th International F.S. Fitzgerald Society Conference, 2019Conference paper (Other academic)
  • 25.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Den nostalgiska ikonotexten i Emil i Lönneberga2019In: Astrid Lindgrens bildvärldar / [ed] Helene Ehriander, Anette Almgren White, Göteborg: Makadam Förlag, 2019, p. 41-64Chapter in book (Refereed)
  • 26.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Diasporic Nostalgia in Jonas Hassen Khemiri’s Montecore: The Silence of the Tiger2022Conference paper (Refereed)
  • 27.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Down and Out in Mysterious Morocco: Ontological Uncertainty in The Man Who Knew Too Much (1956)2018In: Hitchcock and The Cold War: New Essays on the Espionage Films, 1956-1969 / [ed] Walter Raubicheck, New York: Pace University Press, 2018, p. 243-266Chapter in book (Refereed)
  • 28.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Efterord: Fitzgerald och nostalgi2014In: Alla sorgsna unga män / [ed] Niklas Salmose, Röstånga: Trolltrumma , 2014, p. 225-230Chapter in book (Other academic)
  • 29.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Fiktionens roll i den ekologiska krisen2023In: Ikaros, Vol. 3, p. 36-41Article in journal (Other (popular science, discussion, etc.))
  • 30.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Food Nostalgia in the Climate Crisis2021In: 6th MEMORY, MELANCHOLY AND NOSTALGIA International Interdisciplinary Conference, Gdansk, 2021Conference paper (Refereed)
  • 31.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Forntidsbygd till framtidsbygd: Äppelkriget och kapitalocen2023In: Hasse & Tages filmer: En riktigt viktig liten bok / [ed] Andreas Holmström, Niklas Salmose & Peter Törnqvist, Växjö: Trolltrumma , 2023, p. 91-100Chapter in book (Other (popular science, discussion, etc.))
  • 32.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Future Food Cultures Across Media Borders2021In: Digital Matters: Designing / Performing Agency for the Anthropocene: Berlin 5-7 September, Digital Research in the Humanities and Arts , 2021Conference paper (Refereed)
    Abstract [en]

    An important step in battling the climate crisis is what climate science name “a Great Food Transformation” (Willett et al. 2019). In order to reach the UN sustainable development goals we need to radically rethink food production, processing, distribution and consumption. Crucial for this transformation is how future food cultures are communicated through a diverse and partly commodified media landscape. Recently The Lancet published a significant call to action titled Food in the Anthropocene: the EAT-Lancet Commission on healthy diets from sustainable food systems. This publication argues that the “civilization is in crisis” partly because “we can no longer feed out population a healthy diet while balancing planetary resources” (Willett et al. 2019). The rationale of the commission is to help outline how this shift in “how the world eats” can come about. In their summary report they launch a very ambitious program aimed at making people eat in ways that are more sustainable both for their bodies and for their environment. This program is scientifically very well grounded and a necessary step towards addressing both poor diets and climate change. Science communication is one thing, but how does scientific facts translate into a digestible format for ordinary people? And how are future food cultures communicated across media borders? 

    This paper sets out to discuss some preliminary ideas about mediated future food cultures by exploring two very diverse media products: the website Eatforum.org (2020), which is a popularized and activist rendering of the scientific Lancet report, and the speculative climate fiction film Bladerunner 2049 (Villeneuve, 2017). The paper aims to discuss how the two different media types website and fiction film work very differently in communicating future food cultures through their media types’ respective different affordances even if both are in a broad sense transmediations of scientific knowledge.

  • 33.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Harry Hole: Jo Nesbø (1960–)2018In: 100 Greatest Literary Detectives / [ed] Eric Sandberg, London: Rowman & Littlefield Publishers, 2018, p. 88-90Chapter in book (Refereed)
  • 34.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Törnqvist, Peter (Editor)
    Hasse & Tages filmer: En riktigt viktig liten bok2023Collection (editor) (Other (popular science, discussion, etc.))
  • 35.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Humanities: Contemporary Nostalgia2018Collection (editor) (Refereed)
  • 36.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Hypothetical Nostalgia: Nostalgia in the Present2019In: 4th Memory, Melancholy and Nostalgia International Interdisciplinary Conference in Gdańsk, Poland, University of Gdańsk , 2019Conference paper (Refereed)
  • 37.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Intermedial Nostalgia2023Conference paper (Refereed)
  • 38.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Introduction2024In: F. Scott Fitzgerald: A Composite Biography / [ed] Niklas Salmose;David Rennie, Minneapolis: University of Minnesota Press , 2024, p. ix-xivChapter in book (Other academic)
  • 39.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Kaos i klassrummet: om filmval, känslor och att göra film till ett aktivt och inte passivt medium2017In: [ Presented at ] Upp till kamp! Inspirationsdag Skolbio i Jönköping, 2017Conference paper (Other academic)
  • 40.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Little Bright Eyes: A Contextual Case for ‘The Rich Boy’2015In: 13th International F. Scott Fitzgerald Conference, Dublin and Waterford, 4 - 11 juli, The F. Scott Fitzgerald Society , 2015Conference paper (Refereed)
    Abstract [en]

    Fitzgerald wrote about his times in his times; it is difficult to imagine a more contextual author. Contemporary music, cinema, newspaper stories, social customs, just to name a few, are integrated in his writing.  Some of his intertexts are clearly visible, distinctly rooted in public imagination beyond particular moments of history. When John M. Chestnut mentions an “intellectual murder in Hoboken” (141) in “Rags Martin-Jones and the Pr-nce of W-les” (1924), it obviously refers to the Leopold and Loeb case that so famously flourished in the press around 1924 and occupied Fitzgerald’s mind for several years. The kidnapping and murder of Robert “Bobby” Franks was often headlined as an “intellectual murder” in media. There are other, much more obscure, intertexts though, and this paper will investigate one of them. In “The Rich Boy” (1926) the following occurs:

    The smoke banked like fog, and the opening of a door filled the room with blown swirls of ectoplasm. Little Bright Eyes streaked past the tables seeking Mr. Conan Doyle among the Englishmen who were posing as Englishmen about the lobby. (17)

    A modern reader might browse through this scene without really pondering the meaning of “Little Bright Eyes”, but a translator has no other choice than to investigate the matter. Who is “Little Bright Eyes”? There are several options at hand: a children’s book, Little Bright Eyes, published in 1898 by Helen Marion Burnside, a popular song from the late nineteenth century by Westendorf, a German doll from 1915, manufactured by Armand Marseille, reflecting the new image of a child’s cheerful and optimistic attitude, or the Omaha Native girl Susette La Flesche, known as “Bright Eyes”. Clearly any links between these meanings and Fitzgerald are absent as well as why any of these creations should streak past any tables at all. Perhaps the answer can be found in relation to another character om the passage, more celebrated and known – Conan Doyle? Conan Doyle has not written anything about “Little Bright Eyes”, but when one considers the scene’s “swirls of ectoplasm” one moves into the realm of the paranormal and Conan Doyle, besides sketching the adventures of Sherlock Holmes, was an avid fan of spiritualism and even wrote a book on the subject called The Coming of the Fairies (1922). Could “Little Bright Eyes” be related to the world of spiritualism, could it be a fairy? One of the more intriguing court cases in the Supreme Court in Brooklyn 1907 was that between Miss Minerva Vanderbilt and her father, the wealthy lumber merchant Edward Ward Vanderbilt. Minerva tried to prove her father insane in order to revoke a will to his second wife, a Mrs. Mary S. Pepper-Vanderbilt, famous spiritualist medium. The case involved several letters sent to Mr. Vanderbilt by his wife’s “spirit control”, known as “Little Bright Eyes”!

    This paper relates the intertext of the 1907 court case of “Little Bright Eyes” and Conan Doyle’s fascination of the fairies to the section of “The Rich Boy” in order to both understand Fitzgerald’s transtextual method as well as offering an enhanced reading of the passage. Additionally, the paper comments on the difficulties of translating Fitzgerald, in terms of his contextual literary strategies.

  • 41.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Martin Beck: Maj Sjöwall (1935–), Per Wahlöö (1926–1975)2018In: 100 Greatest Literary Detectives / [ed] Eric Sandberg, London: Rowman & Littlefield Publishers, 2018, p. 14-16Chapter in book (Refereed)
  • 42.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    McKenzie Wark: Molecular Red : Theory for the Anthropocene2016In: Ekfrase: Nordisk Tidsskrift for Visuell Kultur, ISSN 1891-5752, E-ISSN 1891-5760, Vol. 7, no 1-2, p. 74-77Article, book review (Other academic)
  • 43.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Papageorgiou, Vasilis (Translator)
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Med fingret vidrör du orden: en antologi samtida grekisk lyrik2019Collection (editor) (Refereed)
  • 44.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Mediterranean Exotic as Nostalgia: Lost Worlds and Found Worlds in D.H. Lawrence's The Lost Girl2018In: Multiple Mediterranean: Myths, Utopias and Real-Life Experiences / [ed] Brit Helene Lyngstad, Sissel Lie, Geir Uvsløkk, Roma: Fabrizio Serra Editore, 2018, p. 31-45Chapter in book (Refereed)
  • 45.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Modernist Fiction and Sensorial Aesthetics2014Conference paper (Refereed)
    Abstract [en]

    Viktor Shlovsky wrote almost hundred years ago that there is art that makes one “recover the sensation of life”. His famous remark “to make the stone stony” refers, in my mind, to the very concept of a sensorial aesthetic; objects should be described as they are sensed not as they are perceived. Modernist novels occupy an ambiguous space between being mono-medial and multi-modal, acting as both self-referencing works of art and, at the same time, evidently referring to and being inspired by other media such as cinematography and music. Studies of modernist fiction, and its relation to the sensorial modalities vision and sound, are numerous and convincing, especially in concordance with modernity and technology (Danius 2002; Jacobs 2001; Kern 1983; Kundu 2008); discussions on the remaining sensorial modalities, smell, taste and pressure, are scarcer. In this paper I will investigate modernist fiction in the light of a sensorial aesthetic that (a) relates to text as sensorial rather than as perceptive, e.g. the production of sensorial perception in readers rather than perception inherently already being part of literary discourse, and (b) focuses mainly on smell, taste and the auditive. Rather than investigating why modernism, in particular, accentuated sensorial modalities, my paper is concerned with aesthetic strategies and emotive reception. This investigation will, apart from sketching some general historical and theoretical outlines, mainly discuss examples from texts by Malcolm Lowry, Virginia Woolf, F. Scott Fitzgerald, and William Faulkner, in order to convincingly establish a relation between modernist fiction and sensorial aesthetics.

  • 46.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Multimodal Modernism2015In: Writing Literary History: Europe 1900 - 1950, Leuven: KU Leuven , 2015, p. 30-31Conference paper (Refereed)
    Abstract [en]

    Viktor Shlovsky wrote almost hundred years ago that there is art that makes one “recover the sensation of life”. His famous remark “to make the stone stony” refers, in my mind, to the very concept of a sensorial aesthetic; objects should be described as they are sensed not as they are perceived. Modernist novels occupy an ambiguous space between being mono-medial and multi-modal, acting as both self-referencing works of art and, at the same time, evidently referring to and being inspired by other media such as cinematography and music. Studies of modernist fiction, and its relation to the sensorial modalities vision and sound, are numerous and convincing, especially in concordance with modernity and technology (Danius 2002; Jacobs 2001; Kern 1983; Kundu 2008); discussions on the remaining sensorial modalities, smell, taste and pressure, are scarcer. In this paper I will investigate modernist fiction in the light of a multimodal aesthetic that (a) relates to text as sensorial rather than as perceptive, e.g. the production of sensorial perception in readers rather than perception inherently already being part of literary discourse, and (b) focuses mainly on smell, taste and the auditive. In addition to investigating why modernism, in particular, accentuated sensorial modalities, my paper is concerned with aesthetic strategies and emotive reception. This investigation will, apart from sketching some general historical and theoretical outlines, mainly discuss examples from texts by Malcolm Lowry and William Faulkner, in order to convincingly establish a relation between modernist fiction and sensorial aesthetics.

  • 47.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Nature vs Culture: A Transmediation from Rachel Carson’s Silent Spring (1962) into The Nature-on-a-Rampage Film Genre of the 1970s2016In: Transmediations! Communcation Across Media Borders: Abstracts. Linnaeus University, Växjö, Sweden, October 13-15, 2016, Linnaeus University , 2016, p. 74-75Conference paper (Refereed)
    Abstract [en]

    Joshua David Bellin argues convincingly that Rachel Carson’s Silent Spring (1962) was highly influenced by both the nuclear threat of the 1950s and popular science fiction from the same decade, most prominently the Big-bug and alien invasion films (146). Carson’s seminal work of popular fiction is “as much a work of science fiction as of science fact,” writes Bellin (145). This leads Bellin to investigate a classic Big-bug film, Them!, in order to trace, backwards, how Silent Spring grows out of common ideological concerns of the 1950s. In this paper, I will take this method a step further and study how Silent Spring (as a representative of popular science), mainly in its critique of the pesticide industry, influences the nature-on-a-rampage film genre of the 1970s. One chapter in Silent Spring is called “Nature Fights Back” and both the 1950s Big-bug and the 1970s nature-on-a-rampage films demonstrate a nature retaliating against culture. The main difference is that in the 1950s films the fighting back is predominantly represented by a single, giant mutated animal (nuclear threat), whereas in the 1970s films animals attack in enormous masses but in realistic size (pesticides). This paper will monitor the transmediation of certain key components and tropes of Silent Spring into two nature-on-a-rampage films: Tarantulas: The Deadly Cargo (1977) and Kingdom of Spiders (1977). Silent Spring is clearly contextualized, and contextualizing, ideas of dystopia, apocalypse, evil science, technophobia, human mastery of environment, as well as advocating modern environmentalism. I will look into these aspects of the source text and explore how they are transmitted to the target films. Are the dichotomies between culture and nature really as stable as one might think? Furthermore, I will also speculate on reasons for why spiders in particular are so apt to represent threats to humanity, as in the two films mentioned. Finally, I will take Bellin’s words seriously and look into how popular science also promotes, within its own structures, science fiction. What are the dialogical and transmedial consequences between scientific discourse and aesthetic media? Analyzing the relationship between a scientific discourse and aesthetic media almost half a century ago will illustrate a relationship and feedback process that hopefully illuminates how these relationships function today when it comes recent issues within the anthropocene: global warming and climate change.

    Works Cited:

    Bellin, Joshua David. “Us or Them!: Silent Spring and The ‘Big Bug’ Films of the 1950s.” Extrapolation 50.1 (2009): 145-167

  • 48.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Nostalgia and Modernism2013In: Time and Temporality in European Modernism and the Avant-Gardes (1900-1950), Leuven: University of Leuven , 2013Conference paper (Refereed)
    Abstract [en]

    Modernism and NostalgiaThis paper sets out to investigate how the consequences of modernity affected European modernist literature’s attitudes towards nostalgia and how this attitude facilitated the development of a particular modernist literary nostalgic aesthetic.If we define nostalgia as a refusal to accept the conditions of life, the flowing of time (the time arrow), and the inevitability of extinction, we owe much to modernity which fuelled nostalgia with an unprecedented awareness of time. The new concepts of time started a teleological rampage, a strong belief in the ideas of progress. The past was outdated; the future goal of progress was a constant improvement in human social affairs and life style.It was a time of contrasts, of conflicts between the old and the new. Maybe this time even could be described as “schizophrenic” as Karin Johannisson argues, an interior break as a result of living in two different worlds at the same time, alienation to the new urban world and modernization (133). Growing out of this “schizophrenia” was a strong longing for the past times, and “the slower rhythms of the past, for continuity, social cohesion and tradition” (Boym 16). If being modern was to be part of a universe in which, as Karl Marx said, “all that is solid melts into air” (qtd. in Berman 15), then being nostalgic is a symptom of poor adaptability to the modern way, and as such is a despicable “disease” in the eyes of progress.Modern nostalgia, then, bears a significant relation to modernity, as identified by recent scholars. Kimberly K. Smith argues that nostalgia actually is the “product of – and indelibly shaped by – nineteenth- and twentieth-century conflicts over the political significance of the past” and as such is related to progress as a “progressive paratheory” (505-06). Sylviane Agacinski writes that “[t]he idea of modernity refers less to a situation in time than it is itself a certain way of thinking about time, free from both eternity and so-called historical necessity” (20), thus configuring the temporally liberated notion of nostalgia. Also Svetlana Boym’s modern concept of nostalgia originates in its reaction to modernity: “I realized that nostalgia goes beyond individual psychology. At first glance, nostalgia is a longing for a place, but actually it is a yearning for a different time – the time of our childhood, the slower rhythms of our dreams. In a broader sense, nostalgia is rebellion against the modern idea of time, the time of history and progress” (xv).This paper will deal with the relations between modernity and nostalgia in modernist literature, predominantly English modernism. Why did the English modernists have such an inclination for nostalgia? How did this inclination manifest itself in the form and style of their writing?Works CitedAgacinski, Sylviane. Time Passing: Modernity and Nostalgia. Trans. Jody Gladding. European Perspectives: A Series in Social Thought and Cultural Criticism. New York: Colombia University Press, 2000.Berman, Marshall. All That is Solid Melts Into Air: The Experience of Modernity. London: Verso, 1983.Boym, Svetlana. The Future of Nostalgia. New York: Basic Books, 2001.Johannisson, Karin. Nostalgia: en känslas historia. Smedjebacken: Bonnier Essä, 2001.Smith, Kimberly K. “Mere Nostalgia: Notes on a Progressive Paratheory.” Rhetoric and Public Affairs 3.4 (2000): 505-27.

  • 49.
    Salmose, Niklas
    Linnaeus University, Faculty of Arts and Humanities, Department of Languages.
    Nostalgia Makes Us All Tick: A Special Issue on Contemporary Nostalgia2019In: Humanities, E-ISSN 2076-0787, Vol. 8, no 3, article id 144Article in journal (Other academic)
  • 50.
    Salmose, Niklas
    Edinburgh University.
    Nostalgia within the texts of F. Scott Fitzgerald2009Conference paper (Refereed)
    Abstract [en]

    F. Scott Fitzgerald’s The Great Gatsby (1925) is, and has, generally been considered a nostalgic novel, in the way it both explores individual private nostalgia through Gatsby’s longing for the past and a wider more collective desire for the past virginal dreams of a New World. Fitzgerald’s fascination of nostalgia is shown in his notebooks and earlier fiction, but is in reality an interest shared by many of the modernists as a reaction to the unprecedented changes in time concepts through industrialization, idea of progress, migration and the explorations of temporality by Kant, and later Bergson. Not to mention Freud’s influence on modernism’s ideas of consciousness and focalization.

       These changes did not only alter the content and themes of modernism, but also narrative strategies themselves. My paper is set out to explore how Fitzgerald in The Great Gatsby uses primarily the narrative strategy of textual memory to reinforce the thematic content of his novel. In dividing his novel in two distinct parts, that are separated through a variety of stylistic devices, and deploying a changeable prose that either creates a strong presence full of impressions, or a more reflective, distant style, he controls the reader’s nostalgic reading experience. Simply, as we progress through the narrative of Gatsby, we are first enhanced by the style which creates an enlarged textual memory, that we will later miss and therefore desire and long for. The summer prose of the first part seduces us, by connecting the story to our own subjective memories of past nostalgic dreams. Then: enter autumn. In the second part we are constantly reminded, through repetitions of themes and motifs, although somewhat changed, of the first part. But all the gaiety and spontaneity of early summer has been replaced by human failure, tragedy and dissolution; in short a party and its hangover.

       When we speak of The Great Gatsby as a novel about nostalgia, we refer to its thematic content. But we might also call it, borrowing the analogy from Paul Ricœur, anostalgic novel in the way its form and style provokes a nostalgic reading experience.

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