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  • 1. Erlanson, Erik
    Charles Fourier2017In: Subaltern, no 1-2Article in journal (Other academic)
  • 2.
    Erlanson, Erik
    Lund university, Sweden.
    Fiktion, fenomen, dikt: Max Loreau och kroppens radikala mummel2012In: Subaltern, no 1Article in journal (Other academic)
  • 3.
    Erlanson, Erik
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Klossowski och experimentet: För ett språkbruk i enlighet med naturen2019In: OEI, ISSN 1404-5095, no 84/85Article in journal (Other academic)
  • 4.
    Erlanson, Erik
    Lund university, Sweden.
    Lyric and Subjection: On the Passionate Reading of Helen Vendler and the Performanz of Poetry2016In: Performativity in Literature: The Lund Nanjing Seminars / [ed] Eva Hættner Aurelius, He Chengzhou, Jon Helgason, Stockholm: Kungl. Vitterhets-, historie- och antikvitetsakademien , 2016Chapter in book (Refereed)
  • 5.
    Erlanson, Erik
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Om Christensen och den naiva poesin i en icke-telologisk natur2019In: Aiolos, no 64-65Article in journal (Other academic)
  • 6.
    Erlanson, Erik
    Lund University, Sweden.
    Ordkonst och levnadskonst: Det skrivande subjektet i John Ashberys, Yves Bonnefoys och Inger Christensens diktning2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The chief aim of this thesis is to investigate the use of language called poetry during the second half of the 20th century and how the writing subject is implicated in it. Building on the theoretical perspectives enabled by Michel Foucault’s late work on the technologies of the self, I analyze the practices of writing in John Ashbery’s, Inger Christensen’s and Yves Bonnefoy’s poetry.

    The introductory chapter discusses Foucault’s work on the history of the technologies of the self and what perspectives it provides for the study of 19th- and 20th-century literature. It opens for a study not concerned with the meaning of poetry or particular poems. The theoretical framework enables a focus on the mode of subjection at work in the writing and reading of poetry; on the forms of subjectivity produced and on the fields of experience enabled. In order to analyze such questions, the thesis investigates how and under what conditions the three poets problematize what they are and do qua poets. The second chapter turns to Ashbery’s writings on art and poetry as well as his writing of poetry, in particular the two major long poems, ”Self-Portrait in a Convex Mirror” (1974) and ”Fragment” (1966). The first is analyzed as a problematization of poetic and artistic activity and the second is read in relation to a certain, for the American context specific, idea of what lyric poetry is and does, also elaborated in the chapter. The problem in the center of this chapter is the historical conditions of possibility for avant-garde poetry, in Ashbery’s sense, i.e., for the production of something unrecognizable. The third chapter is primarily concerned with Bonnefoy’s early books of poetry, Du movement et de l’immobilité de Douve (1953) and Hier regnant desert (1958), and collection of essays, L’Improbable (1959). In focus are the relations between subject, language and the sensuous reality, that which simply is. Bonnefoy’s poetry and poetics are analyzed in order to elaborate what the writing subject, given the negativity of language, has to do in order to establish a relation, be touched by the sensuous reality. The chapter dealing with Christensen, finally, turns to her idea of poetry as a form of knowledge and investigates under what conditions knowledge is produced in the form of a poem. Through an analysis of her poetics, it is demonstrated that writing subject function as a medium for knowledge production rather than as its agent. In order, however, to function as such, a preparatory work, an askēsis, transforming the subject must be performed. In Christensen’s poetry book it (1969) a number of exercises that initiate to a form of life in which poetry may be produced are identified and analyzed. In the concluding chapter a common rule that governs the three poets is elaborated. Although their poetry differ ostensibly, it is argued that insofar as the subject is implicated in their practices, it is not primarily an object for knowledge, but a material to work with and modify in order to gain access to a certain form of experience. In this respect, their poetry constitutes an art of existence. The relation between poetry and life that follows is, furthermore, traced back and related to earlier conceptions of poetry, in particular to French symbolism.

  • 7.
    Erlanson, Erik
    Lund university, Sweden.
    Poesi för poeter2013In: ekelöf'et, no 44Article in journal (Other academic)
  • 8. Erlanson, Erik
    Poesi som självteknologi2016In: Populär poesi, no 28-29Article in journal (Other (popular science, discussion, etc.))
  • 9.
    Erlanson, Erik
    Lund university, Sweden.
    Poesi vid diktens slut: Francis Ponge med språket i tallskogen2015In: Subaltern, no 3-4Article in journal (Other academic)
  • 10. Erlanson, Erik
    [Recension av] Anne Gry Haugland, Naturen i ånden. Naturfilosofien i Inger Christensens forfatterskab (diss. Köpenhamn 2012)2014In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, no 3-4Article, book review (Other academic)
  • 11.
    Helgason, Jon
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Swedish Language.
    Erlanson, Erik
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Henning, Peter
    Umeå University, Sweden.
    Lindsköld, Linnéa
    University of Borås, Sweden.
    Forbidden Literature: Case Studies on Censorship – Reports from an Anthology Project2019In: Literary Citizenship Conference, Oslo 25-27 September 2019: Abstracts, National Library of Norway , 2019Conference paper (Refereed)
    Abstract [en]

    The following paper will present the key outcome of the research anthology project Forbidden Literature – Case Studies on Censorship, slated for publication in 2019. Through a number of case studies dealing with censorship’s past and present, in liberal democracies as well as in totalitarian regimes, the project reveals an historical continuum in which literature constantly appears as a phenomenon in need of regulation. Short reports of two case studies will be presented, exploring decisive aspects of the relationship between literature and society, the social and aesthetic function of literature and their transformations.

    The first case study deals with forms of literary analysis taking place in the courtroom, exemplified by an obscenity trial against a Swedish avant-garde comic magazine in 1989. The second study analyses cases in which Swedish city libraries have refused to acquire, or provide clients with, certain non-fiction works – highlighting an increasingly common conflict between public cultural policies and constitutional principles such as the freedom of speech.

    Together, the two studies show how the historical mode of visibility of literary texts is formed and transformed along with our understanding of what literature is and what it is able to do.

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