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  • 1.
    Bruhn, Jørgen
    et al.
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för film och litteratur (IFL).
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Intermedialitet och litteraturanalys: [ ingår i Lärportalens modul Språk-, läs- och skrivutveckling (Läslyftet), Perspektiv på litteraturundervisning, Del 4: Intermedialitet och litteraturanalys, gymnasiet ]2016Annet (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Syftet med denna text är att presentera en metod för analys ac skönlitterära texter i gymnasieskolan, inom Skolverkets satsning på Läslyftet. Denna metod, kallad intermedial analys, tar sin utgångspunkt i hur olika medier blir synliga i skönlitteraturen. Intermediala analyser har en hel del gemensamt med intertextuella analyser, det vill säga relationer mellan olika texter, men den intermediala kan vara enklare för eleverna att ta till sig.

  • 2.
    Bruhn, Jørgen
    et al.
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för film och litteratur (IFL).
    Löwe, CorinaLinnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).Lutas, LiviuLinnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).Rossholm, Anna SofiaLinnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för film och litteratur (IFL).Salmose, NiklasLinnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).Tornborg, EmmaLinnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för film och litteratur (IFL).Almgren White, Anette
    Ekfrase: Nordisk Tidsskrift for Visuell Kultur2016Collection/Antologi (Fagfellevurdert)
  • 3.
    Cariboni Killander, Carla
    et al.
    Lund University.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Cinematic Ekphrasis and its Narrative Implications2013Inngår i: Emerging Vectors of Narratology: Toward Consolidation or Diversification?,Paris, 29-30 mars 2013 / [ed] John Pier, 2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In recent years, the classical figure of ekphrasishas proved to be a very fruitful concept especially in the field of intermedialstudies. Theorists such as J. A. W. Heffernan, W. J. T. Mitchell, M. Kriegerand C. Clüver have contributed to the definition of ekphrasis, progressivelyenlarging its borders beyond the image-word relation. However, in Clüver’sdefinition of ekphrasis as the “verbalization of a real or fictitious textcomposed in a non-verbal sign system”, the focus remains on the verbal natureof the target medium. Following S. Bruhn, L. Sager Eidt and A. Pethö, we aim atquestioning this limitation by showing that the concept of ekphrasis iscritically viable even when the target is not verbal. Our examples will becases of cinematic ekphrasis, where energeiaand repurposing, two crucial aspectsof ekphrasis, both with narrative implications, are achieved by other meansthan only language. By doing this we join the post-classical narratologicaldiscourse and its increased interest in the question of narrative in non-verbalforms.

  • 4.
    Cariboni Killander, Carla
    et al.
    Lund University.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR). Lund University.
    Questioning ekphrasis by using eye-tracking technique2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In recent years, the classical figure of ekphrasis has proved to be a very productive concept especially in the field of intermedial studies. Theorists such as J. A. W. Heffernan, W. J. T. Mitchell and C. Clüver have contributed to the definition of ekphrasis, progressively enlarging its borders beyond the image-word relation. However, in Clüver‖s definition of ekphrasis as the “verbalization of a real or fictitious text composed in a non-verbal sign system”, the focus remains on the verbal nature of the target medium. Following S. Bruhn, L. Sager Eidt and A. Pethő, we aim at questioning this limitation. We propose to analyse ekphrasis as a case of intermedial relation (W. Wolf) between qualified media (L. Elleström), a relation in which enargeia (the vividness of the description, according to ancient rhetoric) and repurposing (a new purpose for the source medium in the target medium) play a distinctive role. On the basis of an empirical eye-tracking test (a technique for measuring the point of gaze of the viewer), which we have conducted on informants watching a film sequence, we intend to show that the notion of ekphrasis can be applied even outside the language medium.

  • 5.
    Cariboni Killander, Carla
    et al.
    Lund University, Sweden.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Strukelj, Alexander
    Lund University, Sweden.
    A New Look on Ekphrasis: an Eye-tracking Experiment on a Cinematic Example2014Inngår i: Ekphrasis: Images, Cinema, Theory, Media, ISSN 2067-631X, Vol. 12, nr 2, s. 10-31Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Taking the modern definition of ekphrasis as a verbal representation of a work of art as a starting point, we try tobroaden it in this contribution. We agree with intermediality theorist Lars Elleström that ekphrasis falls into the categoryof “media representation”, defined as the representation of a source medium in a target medium. We argue that thetarget medium does not need to be a verbal one and what matters is the energeia, the vividness of the description,leading in turn to enargeia, a vivid image in the mind of the receiver. The energeia-enargeia relation is an aspect thatis often neglected in modern theoretical debates about ekphrasis. We believe that there cannot be ekphrasis without adescription making the receiver “see” the object with his/her inner eye. At the same time, following Seymour Chatmanand Werner Wolf, we argue that description is not a prerogative of the verbal medium and that even the cinematicmedium can describe, using different strategies.In the second part of this contribution, these hypotheses are tested empirically with the help of the eye-trackingtechnique. A short sequence of Christian Petzold’s film Barbara (2012), which constitutes an example of cinematicekphrasis, is shown to thirty-three participants. The evidence gathered from the recording of their eye-movementsconfirms the relevance of the energeia-enargeia relation: the eyeactivity increases at some particular points of the sequence, pointscorresponding to the descriptive activity of the camera. Ekphrasisis thus a kind of embodied experience.

  • 6. Chinita, Fátima
    et al.
    Lutas, LiviuLinnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Ekphrasis. Images, Cinema, Theory, Media. Vol. 22, Issue 2/2019: Crossing Narrative Boundaries between Cinema and Other Media2019Collection/Antologi (Fagfellevurdert)
    Abstract [en]

    From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built upon the impetus of this storytelling. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations stimulating an ever-growing dissemination. Technical and technological developments have helped in this enterprise across a vast array of long-lasting and canonical art forms as well as more popular and recent ones. Film sits precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading. But how does this dialogue between cinema and other media and/or art forms operate? How are stories conveyed from the former to the latter, and vice versa? What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? Urged by these questions, the current issue of Ekphrasis aims at examining the narrative phenomenon across media borders, in the confluence of other media and art forms.

  • 7.
    Chinita, Fátima
    et al.
    Polytechnic Institute of Lisbon, Portugal.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Foreword2019Inngår i: Ekphrasis: Images, Cinema, Theory, Media, ISSN 1320-3606, E-ISSN 1083-589X, Vol. 22, nr 2, s. 5-5Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [en]

    From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built upon the impetus of this storytelling. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations stimulating an ever-growing dissemination. Technical and technological developments have helped in this enterprise across a vast array of long-lasting and canonical art forms as well as more popular and recent ones. Film sits precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading. But how does this dialogue between cinema and other media and/or art forms operate? How are stories conveyed from the former to the latter, and vice versa? What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? Urged by these questions, the current issue of Ekphrasis aims at examining the narrative phenomenon across media borders, in the confluence of other media and art forms.

  • 8.
    Egerland, Verner
    et al.
    Lund University.
    Forsberg Lundell, Fanny
    Stockholm University.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Sundell, Lars-Göran
    Uppsala University.
    Romanska språk som akademisk disciplin2017Inngår i: Romanska språk i Sverige - tradition och förnyelse, 20-21 april 2017, Göteborgs universitet, 2017Konferansepaper (Fagfellevurdert)
  • 9.
    Gobyn, Saartje
    et al.
    Ghent University.
    Lutas, Liviu
    University of Lund.
    Metalepsis Out of Bounds2013Inngår i: Enthymema, ISSN 2037-2426, E-ISSN 2037-2426, nr 9, s. 157-162Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This is a review of the panel “Metalepsis out of Bounds” presented at the 2013 ENN conference. The three convenors proposed complementary remarks to the extent that they either questioned the conceptualization, examined the functioning of metalepsis or applied theoretical models to textual material. Beside an in depth reflection upon the concept, broader questions concerning narrative and popular assumptions of narratology arose.

  • 10.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    A Three-Fold Adaptation: the Old Testament in Peter Greenaway’s Film Goltzius and the Pelican Company2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper I will try to analyze some of the implications of the adaptation of the stories of the Old Testament to two other media in Peter Greenaway’s latest film: Goltzius and the Pelican Company. Indeed, the film as a medium incorporates the dramatization of these stories made by the company of Hendrik Goltzius, a 16th century Dutch printer and engraver of erotic prints. The adaptation is thus achieved in two steps. The first step is from text – the Bible – to the stage adaptation, a process which can be compared to a form of remediation which is close to the figure of ekphrasis. But this form of ekphrasis would work in the opposite direction compared to what could be called “classical ekphra-sis”, defined for instance by Claus Clüver as “the verbalization of real or fictitious texts composed in non-verbal sign systems”. The second step is the filming of these dramatized scenes, a process which Greenaway uses in a self-reflexive way which raises many interesting questions as to the effects of each medium on the audience and on how the audience perceives the stories. A striking fact is that the original medium – i.e. the written text, both as basic and qualified medium according to Lars Elle-ström’s model – is not completely absent in the film.

  • 11.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Adaptation as a Means of Reflecting upon Immersivity and Self-Referentiality2013Inngår i: EKPHRASIS. Images, Cinema, Theatre, Media, ISSN 2067-631X, Vol. 10, nr 2, s. 110-124Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this article, I apply parts of the method introduced by Linda Hutcheon in her recently reedited book A Theory of Adaptation (2010) and try to answer the question “why” an adaptation is made. I particularly study three complex cases of adaptation, which might even put into question the canonical definition of adaptation itself, but I concentrate on aspects related to immersion and self-referentiality. All these examples, which are Jasper Fforde’s novel The Eyre Affair (2001), Abdellatif Kechiche’s film Black Venus (Vénus noire, 2010) and Peter Greenaway’s film Goltzius and the Pelican Company (2012), address the above mentioned aspects in interesting and ingenious manners. In Fforde’s novel, the shift of genres permits a narratively advanced game with the reader’s possible immersion in the world of fiction, challenging and broadening thus theories of reader’s involvement or immersivity. In Black Venus and Goltzius and the Pelican Company, the shift of media and the residual presence of the source medium in the adapting medium offers the possibility of accomplishing subtler, but quite as daring games with the immersivity and self-referentiality of the source text as in The Eyre Affair. In Kechiche’s film, the reaction of the audience is presented. In Goltzius and the Pelican Company there is one more level, which permits self-referential reflections on the adapted product itself and on the act of its reception. However, despite the differences between them, all these three examples illustrate the possibility to include theoretical reflections in artistic works, dissolving thus the difference between theory and practice (cf. Kamilla Elliot).

  • 12.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Animation and Live Action: an Intermedial Encounter and its Implications2015Inngår i: Narrative 2015, 5-8 March, Swissôtel Chicago, 2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper, I will analyze the encounter between animated sequences and live action sequences in movies such as Ari Folman’s Waltz with Bashir (2008) and Jean-François Laguionie’s Le Tableau (2011). Such an intermedial encounter has important narrative implications. For example, by being presented in as a metalepsis in Le Tableau, it raises interesting questions about the creative process and about the relation between fiction and reality. In Waltz with Bashir, it is used as a way to represent a traumatic event from the past.

  • 13.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Aspects intermédiaux dans l'oeuvre de Patrick Chamoiseau2014Inngår i: Patrick Chamoiseau, 2014Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    L'intermédialité est un axe de recherche très dynamique aujourd'hui. Surtout le postulat de W.J.T. Mitchell (1994), selon lequel la notion d’un médium pur est une aberration puisque tous les médias sont des mélanges de différents médias et tous les arts sont composés, a ouvert la voie à la possibilité d'analyser les œuvres littéraires d’un nouveau point de vue. Un texte littéraire peut par exemple activer, de différentes manières, plusieurs modes cognitifs. Des théoriciens comme Hans Lund, Claus Clüver et Werner Wolf ont essayé de montrer comment cela peut se faire. Le modèle de Wolf (2002) est particulièrement intéressant, étant donnée sa prétention d'établir une typologie des relations intermédiales. L'imitation, la thématisation, la fusion et la combinaison sont les quatre relations possibles entre les médias d’un point de vue intracompositionnel, selon Wolf. Or, bien que le modèle de Wolf soit innovateur et extrêmement utile pour les analyses intermédiales, il n'arrive pas à totalement dépasser la perception essentialiste des médias comme des entités homogènes et pures. C'est peut-être en complétant le modèle de Wolf avec des études sur l'iconicité, comme celles de Winfried Nöth, (2001) ou de Lars Elleström (2010), que l'on peut arriver à comprendre comment les différents modes cognitifs peuvent contribuer à créer du sens dans un ouvrage littéraire.

    L’œuvre de Patrick Chamoiseau est illustrative d’un point de vue intermédial. En effet, déjà ses premières publications ont été acclamées pour l'oralité de leur style. Or l'oralité de l'écriture est justement un des détails qui peuvent être abordés sous l'angle de l'intermédialité, puisque l’écriture et la langue parlée renvoient justement á des modes cognitifs différents. Il y a cependant aussi des relations entre l’écriture chamoisienne et les arts visuels. Bien que moins étudiées que l’oralité, de telles relations sont omniprésentes dans l’œuvre chamoisienne. Non seulement a-t-il écrit des bandes dessinées et des scénarios de films, mais les romans eux-mêmes ont un style qui pourrait être considéré visuel. Nous analyserons, par conséquent, si la typologie de Werner Wolf peut être utilisée pour jeter une nouvelle lumière sur l'oralité et sur la visualité dans l'œuvre de Chamoiseau, surtout dans les cas des romans Solibo Magnifique, Texaco (1992), Biblique des derniers gestes (2002) et L’empreinte à Crusoé. Ceci dit, nous tâcherons de montrer comment les aspects intermédiaux contribuent à l'un des projets que se propose Chamoiseau dans son œuvre littéraire : celui de donner une vision intérieure de l’identité antillaise et de l'Histoire de la Martinique.

  • 14.
    Lutas, Liviu
    Lund University.
    Biblique des derniers gestes de Patrick Chamoiseau: Fantastique et Histoire2008Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    Patrick Chamoiseau is arguably the most prominent cultural personality from the French island of Martinique. His reputation is due to the worldwide success of his novels, especially Texaco, winner of the Prix Goncourt-award in 1992, but also to the fact that he is the leading theorist of the Créolité, an ideological movement whose aim is to preserve the character of Creole identity and culture against the threat of assimilation. Chamoiseau’s importance in an ideological context tends to overshadow his literary qualities, his novels being often seen as illustrations of his political ideas.Although Chamoiseau’s ideological views aren’t totally absent from his literary work, his novels strike the reader as extremely complex constructions, containing far more than a subversive aspect. An aspect that has been neglected by the critics is for example the supernatural. Probably because of the geographic vicinity to South America, Chamoiseau’s use of the supernatural has been, rather hastily, considered as typical of magical realism or marvellous realism. This dissertation aims at showing that the fantastic, as defined by Tzvetan Todorov (1970), is better suited to describe this aspect of Chamoiseau’s novels, especially Biblique des derniers gestes (2002).Our main objective is, however, not to decide whether the novel belongs to the fantastic as a genre, but to examine the reasons why it is used. A close analysis shows that it is often in relation to the past of Martinique that the supernatural appears. Thanks to the theory of the fantastic, we find three possible explanations of this fact. Firstly, the supernatural is juxtaposed to the real in order to reveal its limits and its “constructedness”. Martinican past thus appears as a French construction. Secondly, the fantastic can be used to reveal the absence of genuine Martinican history. Finally, the fantastic can be a reminder of a terrible event from the past. In conclusion it can be said that Chamoiseau uses the fantastic in order to write the history of an event that he sees as the origin of Martinique: slavery. By doing this he contributes to the fantastic as well, by showing that it is not necessarily gratuitous and by providing a good example of original and innovative use.

  • 15.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Breaking the Bodily Limits of the Enunciator: Metalepsis in Jersild, Ndiaye and Ramuz2014Konferansepaper (Annet vitenskapelig)
  • 16.
    Lutas, Liviu
    Lund University.
    Ceaușescu och litteraturen: Mellan antisovjetism och personkult2012Inngår i: Statsvetenskaplig Tidskrift, ISSN 0039-0747, Vol. 114, nr 3, s. 385-399Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The goal of this article is to examine what role literature played for Nicolae Ceaușescu, Romania's political leader between 1965 and 1989. I focus on the period between 1968 and 1974, when the basis was laid for a cultural policy which was to be applied until the end of Ceaușescu's reign in 1989. Such studies are easier to conduct today, when the archives of the Romanian Communist Party have been opened, and the protocols of Ceaușescu's meetings with Romanian writers after his so called "Little Cultural Revolution" in 1971 have been published. What is especially salient is that Ceaușescu saw literature, especially formalistically experimental literature, as a potential danger for his project of ideological repression of Romanian citizens. He also used literature and art in general in his struggle for independence from the Soviet Union and emancipation of Romanian identity. The results of Ceaușescu's ideological turn in cultural policy were not at all positive for Romanian literature

  • 17.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Children’s Films as Transmediations of the Anthropocene2016Inngår i: Transmediatons! Communications across Media Borders: Abstracts. Linnaeus University, Växjö, Sweden, October 13-15, 2016, Linnaeus University , 2016, s. 72-73Konferansepaper (Fagfellevurdert)
    Abstract [en]

    As has been stated (Gaard 2009 and 2011), children’s literature and films have “tremendous potential for communicating messages about ecosocial justice, community empowerment, and strategies for ecodefence” (Gaard 2011:47). But, Gaard claims, this potential is not really used as it could. The examples she chooses to illustrate this failure are, among other, two recent American children’s films where the Anthropocene has a major role: Happy Feet (2006) and Wall-E (2008). Gaard finds, in her criticism, that both these films typically follow a certain traditional narrative trajectory “of heterosexual romance” in order to tell stories about the consequences of global warming. Typically too, claims Gaard, there is a happy ending, and a naïve trust in technical progress and a naïve belief that “simply learning the facts about environmental devastation is sufficient to inspire action” (Gaard 2011:48). As in adult American (Hollywood) films, Gaard concludes, it is apparent that fiction does not keep the pace with the developments in science and politics about the Anthropocene. In this paper, I will have a second look at one of the films discussed by Gaard, namely Wall-E, in order to see how the discourse on the Anthropocene is transmediated and used. I will compare this to another children’s film, also animated, but from a totally different cultural context: Hayao Miyazaki’s Ponyo (2008), from Japanese Studio Ghibli. I will especially concentrate on the narrative structure to see if the happy ending, the naïve trust in technical progress and the traditional heterosexual romance are at work in the same ways. Finally, I will compare these films with a more scientific publication for children: the Geological Society’s resources pack on the Anthropocene.

  • 18.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Collaborating over the Frontiers: Reflections on a French Course Given in Collaboration between Schools in Sweden and France2016Inngår i: ICERI2016 Proceedings: 9th annual International Conference of Education, Research and Innovation. Seville, 14th, 15th and 16th of November, 2016, Seville: The International Academy of Technology, Education and Development, 2016, s. 6192-6200, artikkel-id 408Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper, I describe a French course at the first level at a Swedish university, i.e. the level directly after at least one year of French studies in upper secondary school, which corresponds to level A 2.2 in the Common European Framework of Reference for Languages. The course is given in collaboration between Linnaeus University in Sweden and a language school in Nice, France. The Swedish students study on campus in Nice, but follow the Swedish syllabus, and the teachers from Sweden are mainly involved in online teaching activities, but have the main responsibility for the assessment and the final grades. It is a situation which creates very specific pedagogical challenges which I here try to analyse on the basis of the didactic triangle (Kugel 1993, Hopman 1997).

    I thus analyse the three possible relationships between teacher, content and student, and in the process I try to identify those aspects which are especially important for this kind of course. Such aspects can for instance be the combination campus teaching/online teaching (“blended learning” according to Ellins et al 2007), informal learning, the students’ contact time with the foreign language, the collaboration between teachers coming from different teaching cultures, the different perspectives on education and general knowledge, the different views on  subject knowledge, etc.

    On the basis of these analyses, I eventually present some suggestions for constructive alignment between the course’s learning objectives, the teaching and learning activities and the feedback and assessment methods (Biggs 2012, Elmgren & Henriksson, 2010). 

    The main goal of this paper is not only to show an example of a successful collaboration between teachers from different countries, but also to reflect on possible improvements of this course, on the basis of recent research conducted in the fields of general didactics and language didactics.

  • 19.
    Lutas, Liviu
    Lund University.
    Dos ejemplos de metalepsis narrativas: Niebla de Miguel de Unamuno y Biblique des derniers gestes de Patrick Chamoiseau2009Inngår i: Moderna Språk, ISSN 2000-3560, E-ISSN 2000-3560, Vol. 103, nr 2, s. 39-59Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    Denna artikel är en studie av den narrativa metalepsen i två skilda sammanhang: Unamunos roman "Dimma", som publicerades i Spanien i början av 1900-talet, och Chamoiseaus roman "Biblique des derniers gestes", som publicerades i Frankrike på 2000-talet. Studien visar hur användningen av den narrativa metalepsen förändrats under den period på ett hundra år som skiljer de två romanerna, samtidigt som vissa överraskande likheter kan skönjas.

  • 20.
    Lutas, Liviu
    Lund University.
    Fantastique contemporain aux Antilles: L’exemple de Patrick Chamoiseau2004Inngår i: IRIS / Les cahiers du Gerf, ISSN 0769-0681, nr 26, s. 101-112Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    Detta är ett kapitel i en volym vars syfte är att studera det fantastiska i litteratur från olika delar av den fransktalande världen. Mitt bidrag handlar om fallet Patrick Chamoiseau som ett exempel på modern användning av det fantastiska i västindisk litteratur.

  • 21.
    Lutas, Liviu
    Lund University, Sweden.
    Fantastique et Histoire chez Patrick Chamoiseau2005Inngår i: XVIe Congrès des Romanistes Scandinaves, Institut for Sprog og Kultur, Roskilde, augusti 2005 / [ed] M. Olsen and E.H. Swiatek, Roskilde: Institut for Sprog og Kultur, Roskilde , 2005, s. 1-15Konferansepaper (Fagfellevurdert)
    Abstract [sv]

    I detta konferensbidrag analyserar jag hur det fantastiska kan användas i romaner som påstår sig vara historiska. Franska Västindien, som det exemplifieras i Patrick Chamoiseaus romaner, är ett bra exempel på hur det fantastiska kan hjälpa till i upptäckten av ett förflutet som glömts bort eller förträngts.

  • 22.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Intermediality in French Literature from the West Indies – The Example of Patrick Chamoiseau2015Inngår i: Concurrences in postcolonial research – perspectives, methodologies, engagements, Linnaeus University, Kalmar, August 20-23 2015, 2015Konferansepaper (Fagfellevurdert)
  • 23.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Intermediality in the Weird Wave in Greek Cinema2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Greek cinema has appeared to be very innovative, especially from a formal point of view, these last five years. Directors like Yorgos Lanthimos (Dogtooth, 2009 and Alps, 2011), Athina Rachel Tsangari (Attenberg, 2010), Panos Koutras (Xenia, 2013), Yanis Economides (Knifer, 2010), Thanos Anastopoulos (The Daughter, 2012), Alexander Avranas (Miss Violence, 2014) and Penny Panayotopoulou (September, 2013) have defied the financial crisis in Greece and made a number of films that made critics from around the world talk about a new wave in Greek cinema. In August 2011, in the Guardian, Steve Rose baptized this phenomenon “the Greek Weird Wave”, and even a newspaper as The Economist acknowledged the originality of this generation of Greek filmmakers, who deal with “the link between the banal and the grotesque, and do so with shared trademarks: awkward dialogue, heightened background noise, sudden violence and emotional breakdown” (The Economist, December 6, 2011).

    Several critics feel that these movies have an allegorical dimension, but do not always succeed in showing how this dimension appears in these films which have a rather complex cinematic language. I argue that an innovative use of intermediality is one of the ways to allude to the financial and social crisis in an indirect, poetic manner. By representing other media in ambiguous situations, these directors add a different level, which can be interpreted in interesting ways, among which one is allegorical, as we shall see in the examples I choose to analyse: Dogtooth, Alps, Attenberg and Xenia. However, it must be pointed out that the allegorical dimension does not become dominant in these films. The films are not principally documents over the financial crisis that hit Greece in 2008 and still has the country in its grips, but rather interesting and innovative examples of the use of “media representation”, according to the concept used by intermediality theorist Lars Elleström.

  • 24.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    La actualidad del cuento "El café" cincuenta años después: Un punto de vista intermedial2015Inngår i: Homenaje a Juan García Ponce: Imagen primera y La noche cincuenta años después / [ed] Magda Díaz y Morales, Veracruz: Universidad de Veracruz , 2015, s. 61-86Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [es]

    El presente artículo constituye en primer lugar una perspectiva extranjera sobre los cuentos iniciales de Juan García Ponce, más exactamente una perspectiva escandinava debido a mi origen sueco. En segundo lugar hay aquí una perspectiva desde un campo teórico de importancia cada vez más grande en los estudios literarios actuales: la intermedialidad.

  • 25.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    La metalepsis narrativa – consideraciones alrededor de las clasificaciones2013Inngår i: Tercer congreso internacional de investigaciones literarias,19-21 juni 2013, Universidad Veracruzana, Xalapa, Mexiko / [ed] Magda Díaz y Morales, 2013Konferansepaper (Fagfellevurdert)
    Abstract [es]

    Según la primera definición propuesta en el año 1972 por el teórico literario francés Gérard Genette, la metalepsis es el traspaso de la frontera entre el nivel diegético del narrador y la diegesis, es decir el mundo narrado por el narrador. Ya en las primeras tres páginas dedicadas a esta figura narrativa, Genette habla de la posibilidad que existan varios tipos de metalepsis.  Menciona por ejemplo la “la metalepsis de autor”, las metalepsis “triviales e inocentes” de la retórica clásica, las metalepsis “más literales”, o más atrevidas, del escritor inglés Laurence Sterne, y también los dos tipos de metalepsis según la dirección de la intrusión: si el universo diegético hace intrusión en el universo extradiegético, o inversamente. En el mismo libro, Genette menciona una eventual transmedialidad del concepto, cuando habla de “personajes escapados de un cuadro, de un libro, de un recuerdo de prensa, de una fotografía” y también del medio cinematográfico.

     

    El concepto de la metalepsis no tuvo el mismo éxito que otros términos creados por el narratólogo  francés en los primeros años después de la publicación de su Figuras III.  Sin embargo, los numerosos estudios anglosajones sobre la metaficción  publicados en los años 1990 han despertado un nuevo interés por la metalepsis. Un gran nombre de publicaciones y conferencias han sido dedicadas al concepto en los diez últimos años. 

     

    Muchos de estos estudios intentan establecer una taxonomía de las metalepsis. Es por ejemplo el caso de algunos de los artículos del volumen Métalepses. Entorses au pacte de la représentation, publicado por J. Pier y J-M Schaeffer en 2005, del volumen La narración paradójica, Normas narrativas y el principio de la transgresión publicado por N. Grabe, S. Lang y K. Meyer-Minneman en 2006, y de unos artículos de S. Klimek (2009 y 2011).

     

    En esta conferencia voy a profundizar en algunos detalles de estas taxonomías. Desde un punto de vista intermedial, es decir utilizando varios medios, voy a analizar la posibilidad de distinguir entre metalepsis retóricas (o discursivas) y ontológicas (D. Cohn y M. Fludernik), metalepsis vertical y horizontal (S. Lang y S. Klimek), y también la distinción entre procedimientos de anulación y de transgresión de límites (S. Lang y K. Meyer-Minneman).

  • 26.
    Lutas, Liviu
    Lund University.
    La syllepse narrative vue dans une perspective didactique2012Inngår i: Actes du XVIIIe congrès des romanistes scandinaves / Actas del XVIII congreso de romanistas escandinavos / [ed] Eva Ahlstedt, Ken Benson, Elisabeth Bladh, Ingmar Söhrman, Ulla Åkerström, Göteborg: Acta Universitatis Gothoburgensis, 2012, s. 494-502Konferansepaper (Fagfellevurdert)
    Abstract [en]

    These papers were originally presented at the XVIIIe conference on Romance language research in Scandinavia that took place at the University of Gothenburg August 9–12, 2011, bringing together researchers from Danish, Finnish, Icelandic, Norwegian, Baltic, and Swedish universities. The subjects approached cover a broad range of areas within linguistics, translation studies, literary studies and didactics. The following specialists were invited as key-note speakers: Manuel Alberca, Philippe Gasparini, Zlatka Guentchéva, and Martin Maiden.

  • 27.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    L’emploi de l’iconicité dans les œuvres de Juan García Ponce et de Marie Ndiaye2017Inngår i: 20th Nordic Romanist Conference : Book of Abstracts: ROM17, University of Bergen, Department of Foreign Languages, August 15-18, 2017, University of Bergen, 2017, s. 72-72Konferansepaper (Fagfellevurdert)
    Abstract [fr]

    Dans cette communication, je me propose d’investiguer, d’un point de vue des relations intermédiales, comment les ouvrages narratifs peuvent produire du sens en exploitant le rapport entre forme et sens. Plus précisément, j’emploie les théories de l’intermédialité et notamment de l’iconicité dans l’analyse de deux ouvrages narratifs : le premier récit du roman Trois femmes puissantes de l’écrivaine française Marie Ndiaye, publié en 2009, et la nouvelle El café, publié en 1963 par l’écrivain mexicain Gabriel García Ponce. J’analyse notamment la manière dont ces ouvrages imitent des peintures. Ce genre d’imitation, appelée “imitation intermédiale” par le théoricien allemand Werner Wolf, a lieu lorsque les signifiants d’un ouvrage et/ou sa structure sont affectés par le médium non dominant, puisqu’ils semblent imiter ses caractéristiques et sa structure (Wolf, 2002:25). Selon le sémioticien Winfried Nöth, de telles relations peuvent être classifiées comme des cas typiques d’iconicité, dans lesquels la forme d’un médium imite la forme d’un autre médium, ou “form miming form” avec les mots de Nöth (2001:18). Le théoricien suédois Lars Elleström propose que l’iconicité contienne aussi les cas lorsque le sens ou la forme imitent le sens ou la forme, un sujet controversé dans les études de l’iconicité. Pourtant, l’hypothèse d’Elleström semble valide dans les ouvrages que j’étudie ici.

    Il faut aussi mentionner que les imitations intermédiales étudiées dans mes exemples concernent des récits écrits qui imitent des peintures à un niveau général. De tels cas peuvent être étudiés comme des cas de model ekphrasis, selon la classification faite par Tamar Yacobi. Dans le cas de Ndiaye, la forme visuelle de l’écriture, ou la mise en page, ressemble au cadre d’un tableau, sans que ce soit un tableau spécifique. Le fait même de suggérer un cadre souligne l‘existence d’un autre type de cadre dans ce récit, un cadre entre les niveaux narratifs.  L’écriture de García Ponce a aussi des traits picturaux, mais ce qui est imité à un certain moment est un tableau spécifique, comme dans ce que Yacobi appelle one-to-one ekphrasis : plus précisément le tableau Nighthawks d’Edward Hopper. Ma conclusion est que bien que le tableau de Hopper ne soit pas mentionné explicitement dans la nouvelle, la découverte de sa présence palimpsestique contribue à une lecture plus intéressante, grâce au sens que cela ajoute à l’histoire.

  • 28.
    Lutas, Liviu
    Lund University.
    Les technologies de l’information et de la communication dans l’enseignement de la littérature: l’exemple d’un lycée suédois2012Inngår i: Meridian Critic, ISSN 2069-6787, Vol. 18, nr 1, s. 75-90Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this article I will explore the dynamics of the relation between literature and technology by concentrating on the didactics of literature. Indeed, teaching literature must take into account the latest technological developments and the new media forms, especially since the pupils are supposed to get acquainted with these in order to be active participants in the public life of today’s information society. I will consequently describe an experiment implemented in a class of Swedish pupils at upper secondary level. They worked in small groups with an ICT facility which was used to present French speaking writers from outside continental France. This teaching method gave the pupils the opportunity to be not only passive consumers, but active producers of knowledge, something that contributed to enhancing their creative and collaborative competences.

  • 29.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    L'intermédialité comme méthode d'analyse textuelle: L'exemple de Patrick Chamoiseau2018Inngår i: Orbis Litterarum, ISSN 0105-7510, E-ISSN 1600-0730, Vol. 73, nr 1, s. 80-100, artikkel-id OLI12163Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [fr]

    Cet article a deux objectifs. Pour commencer, nous présentons lathéorie intermédiale actuelle telle qu’elle s’est établie principalement dans la recherche allemande et suédoise, par exemple dans les travaux de Werner Wolf et de Lars Elleström. Ensuite, nous appliquons cette théorie sur l’oeuvre de l’écrivain martiniquais contemporain Patrick Chamoiseau. Dans une première étape, nous abordons plusieurs aspects intermédiaux de cette oeuvre d’une perspective générale, avant de nous lancer dans une analyse textuelle de quelques extraits de trois romans –Biblique des derniers gestes (2002), Solibo Magnifique (1988) et L’empreinte à Crusoé (2012) – où l’intermédialité est mise en oeuvre de manière particulièrement intéressante. Notre parcours montre non seulement que Chamoiseau est actif dans plusieurs médias, mais que son écriture est hautement intermédiale. Il traite le médium de l’écriture de manière flexible et ouverte, non pas comme une entité essentialiste et stable. Notre conclusion est que l’originalité de l’oeuvre chamoisienne peut mettre à l’épreuve la théorie de l’intermédialité de manière constructive, sans pour autant l’invalider.

  • 30.
    Lutas, Liviu
    Lund University.
    Literary Theory in Swedish Upper Secondary School: Classroom Examples2011Inngår i: Proceedings from the 4th International Conference of Education, Research and Innovation, Madrid: The International Academy of Technology, Education and Development , 2011, s. 5533-5542Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper I challenge the opinion that literary theory should not be taught at upper secondary level. According to French literary theorist Tzvetan Todorov, the teacher at this level should aim at teaching literary works, not theory. Theory should only be used as an invisible instrument. My hypothesis is that literary theory can be used successfully at upper secondary level. A certain insight in theory can help the pupils become better readers. A possible way to do this is by using an inductive approach, that is starting with examples from literary works and get to the theory instead of the other way.

  • 31.
    Lutas, Liviu
    Lund University.
    Literature, ICT and Globalization: Using Glogster in Teaching Francophone Literature2011Inngår i: Proceedings from the 4th International Conference of Education, Research and Innovation, International Association for Technology, Education and Development(IATED), Madrid, Madrid: The International Academy of Technology, Education and Development , 2011, s. 5523-5532Konferansepaper (Fagfellevurdert)
    Abstract [sv]

    I detta konferensbidrag beskriver jag ett exempel på hur IKT (Informations- och kommunikationsteknik) kan användas i litteraturundervisning på gymnasiet i Sverige på ett sätt som gör det möjligt för eleverna att bli mer aktiva producenter av kunskap i en flexibel inlärningsmiljö samtidigt som man främjar en globaliserad litteratursyn, särskilt vad gäller fransk litteratur, som går bortom nationens gränser.

  • 32.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Media Transformation in Recent British Cinema: Biblical Motifs in Peter Greenaway’s Goltzius and the Pelican Company and Shane Meadows’s Dead Man’s Shoes2018Inngår i: Symbiotic Cinema: Confluences between Film and Other Media, Växjö: Linnaeus University , 2018Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Recent British cinema has produced films stretching from heritage films to kitchen sink realism. The main differences between these poles lies in the classes described – bourgeoisie and aristocracy in heritage films vs. working class in kitchen sink realism -, and in the mise en scène  – high-quality visual production values for heritage films vs. the simplicity, banality and avoidance of carefully constructed plots or settings for kitchen sink realism. In this paper, I will analyze two films, one from each one of these two categories: Peter Greenaway’s Goltzius and the Pelican Company (2012), representing the heritage tradition, and Shane Meadows’s Dead Man’s Shoes (2004), representing kitchen sink realism. None of the films could be considered as ideal examples of their class though. Greenaway’s film describes an older period than usually do heritage films (the sixteenth century), and does it in ways that combines naturalistic and extremely lavish settings. It can be seen as an example of what Claire Monk (2002) calls ‘post-heritage films’, that is films which adopt a less naturalistic, even anachronistic approach to screening narratives set in the past. Meadows’s film is basically social-realistic, but has a twist which elevates it to a mythical level which is far from typical of kitchen sink realism. One of the things which complicate, in both cases, the classification is the use of biblical motifs. Consequently, I will analyze the use of these based on Lars Elleström’s model of media transformation (2014). A close look on whether certain scenes are to be considered as cases of media transformation or transmediation (Elleström 2014) shows that Greenaway’s film deconstructs the religious motif, whereas Meadows’s film, on the contrary, constructs it in unexpected and subtle ways. In both cases, however, different intermedial strategies are used in sophisticated ways in relation to religious motifs, something that deserves a closer analysis.

  • 33.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Metalepsis and History: The Example of Three Francophone Writers2013Inngår i: The 3rd ENN Conference, EmergingVectors of Narratology: Toward Consolidation orDiversification?, Paris,29-30 mars 2013 / [ed] John Pier, 2013, s. 59-Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper, I will analyze the way in which a narrative figure as metalepsis is used in three Francophone works of fiction dealing with the past. Indeed, it could seem inappropriate  to use a device classified under the label of "paradoxical narration" by some theorists (K. Meyer-Minnemann, S. Lang, N. Grabe) when dealing with history. However, the frame-breaking nature of metalepsis (cf. Debra Malina) allows for the possibility of bringing together two different worlds, something that can be highly relevant when representing the past.

    In the three works chosen, written by C. F. Ramuz, Patrick Chamoiseau and Marie Ndiaye, narrative metalepsis is used in complex ways in order to enact the fusion of different consciences and thereby of different time periods. The metalepses in the three works are interesting to study also when it comes to the narrative boundaries which are crossed and the direction of the crossing (ascendant, descendant or horizontal, cf. G. Prince, S. Klimek, S. Rabau), since these are aspects that can have important impact on the representation (or sometimes non-representation) of the past. Moreover, the three works constitute examples of both different genres and different attitudes towards the past, only one of them (Chamoiseau) aiming at historiography.   

  • 34.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Metalepsis and its effects on the recipient2015Inngår i: Modelling Narrative Across Borders”, 4th Conference of the European Narratology Network, Ghent 14-16 April 2015, 2015, s. 49-50Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Already from the start, narrative metalepsis has been associated with its effects. According to Gérard Genette’s first definition from 1972, it “produces an effect of strangeness that is either comical […] or fantastic”. Eleven years later, Genette added the possibility of an aesthetic effect: Metalepsis, he said, can produce ”an effect of “humor” or of “the fantastic” or “some mixture of the two […], unless it functions as a figure of the creative imagination”.

    Later research on metalepsis (Ryan, Wagner, Malina) has taken up the aesthetic aspect, arguing that metalepsis has an anti-immersive effect, thanks to its “potential for self-reference and thus for laying bare the fictionality of the work in which it appears” (Pier). But what is interesting is that this “laying bare” of the creative process is neither always anti-immersive, nor necessarily separated from the other effects mentioned by Genette. I will study some examples in which the self-reflexive dimension is related to “the fantastic effect” (or rather what Rita Felski would call shock as a mode of textual engagement), or to the “comical” effect on a recipient. I will concentrate on the represented effects (that is the reactions of the characters inside the diegesis), but I will briefly mention the possibilities to study the effects on empirical recipients.

  • 35.
    Lutas, Liviu
    Lund University.
    Metalepsis and Participation in Games of Make-Believe2012Inngår i: Howto Make Believe. The Fictional Truths of the Representational Arts, iLund, Språk- och litteraturcentrum, 15 mars – 17 mars 2012 / [ed] Alexander Bareis, Lene Nordrum, Lund, 2012Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper I will concentrate on how a device as the narrative metalepsis affects the participation in what Kendal Walton calls the games of make-believe. According to Walton, ”viewers of paintings and films, spectators of plays, readers of novels […] participate in the games in which these works are props much as children participate in games” (p. 213). This means that readers and spectators of works of art participate in the worlds of these works in a way that is analogous to how children participate in their games: “Children are almost invariably characters in their games of make-believe”, says Walton (p. 209). Hence the importance of participation in the activities of reception of representational works of art. But Walton is aware that there is another possible reaction to works of art, which he calls “appreciation”. Appreciation is a more distanced, or reflexive, attitude. Appreciation usually involves participation, but this is not always the case. According to Walton, especially the participation of the kind “being caught up in story” (p. 275) is discouraged for instance by works “declaring or displaying their fictionality” (ibid).

    Metalepsis would count as a device that breaks the fictional illusion, since it emphasises the boundary between the world of representation and the represented world, according to the definition coined by Gérard Genette. However, it might be argued that metalepsis does not always have an anti-illusionist effect (Wolf, Klimek). In this paper, I will focus on a couple of examples where metalepsis can even be argued to have an illusionist effect. The examples will be taken from different media, something that illustrates Walton’s intermedial view of fictionality. I will thus start with three cases, in painting, children’s literature and detective fiction, where the metalepses clearly encourage participation. I will then analyze two recent films where the use of metalepsis is more complex, especially when it comes to its relation to participation.

  • 36.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Metalepsis and Participation in Games of Make-Believe2015Inngår i: How to Make Believe: The Fictional Truths of the Representational Arts / [ed] J. Alexander Bareis, Lene Nordrum, Berlin: Walter de Gruyter, 2015, s. 203-222Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    In this paper I concentrate on how a device as the narrative metalepsis affects the participation in what Kendal Walton calls the games of make-believe. According to Walton, ”viewers of paintings and films, spectators of plays, readers of novels […] participate in the games in which these works are props much as children participate in games” (p. 213). This means that readers and spectators of works of art participate in the worlds of these works in a way that is analogous to how children participate in their games: “Children are almost invariably characters in their games of make-believe”, says Walton (p. 209). Hence the importance of participation in the activities of reception of representational works of art. But Walton is aware that there is another possible reaction to works of art, which he calls “appreciation”. Appreciation is a more distanced, or reflexive, attitude. Appreciation usually involves participation, but this is not always the case. According to Walton, especially the participation of the kind “being caught up in story” (p. 275) is discouraged for instance by works “declaring or displaying their fictionality” (ibid).

    Metalepsis would count as a device that breaks the fictional illusion, since it emphasises the boundary between the world of representation and the represented world, according to the definition coined by Gérard Genette. However, it might be argued that metalepsis does not always have an anti-illusionist effect (Wolf, Klimek). In this paper, I will focus on a couple of examples where metalepsis can even be argued to have an illusionist effect. The examples will be taken from different media, something that illustrates Walton’s transmedial view of fictionality. I will thus analyse examples of paintings, detective fiction, where the metalepses seem to encourage participation. I will then analyze two recent films where the use of metalepsis is more complex, especially when it comes to its relation to participation.

  • 37.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Metalepsis and the Past in Fiction: A Study Based on Francophone Literature2015Inngår i: Metacritic journal for comparative studies and theory, ISSN 2457-8827, Vol. 1, nr 1, s. 13-35Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The aim of this study is to challenge the view that narrative metalepsis is incompatible with the writing about the past and history. I study three works by francophone writers in which metalepsis and another similar narrative device, syllepsis, are used in interesting ways in stories dealing in different ways with the past. In C F Ramuz’s short story Scène dans la forêt, both devices are used in order to give the reader the impression of being in physical contact with past events and with the fictional events represented in the story. The past here is of an individual type. In Marie NDiaye’s first story of her novel Three Strong Women, the individual past can be read as an allegory of France’s postcolonial relation to the former African colonies. Metalepsis is used in order to suggest that the character accepts her past. In Patrick Chamoiseau’s novel Biblique des derniers gestes, metalepses are used in order to suggest a physical contact with the forgotten history of slavery.

  • 38.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Minimalism in Romanian New Wave Cinema: The Example of Cristi Puiu2016Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper, I will take a closer look at the use of minimalism in the Romanian New Wave films (i.e. films by some Romanian directors between 2001 and 2014). According to Dominique Nasta (2013) and Doru Pop (2014), the films belonging to this “wave” are characterized by a minimalist style, defined as a reduction to the basics of the cinematic language, especially composition (sight and sound) and narrative (plot, characters and narrative techniques). One interesting question is whether this style is related to the crisis in Post-Communist Romania, more specifically to its realistic representation in the films or to the lack of funding, or if it is rather an aesthetic choice. I will closely analyze a number of scenes in Cristi Puiu’s three feature films, Stuff and Dough (2001), The Death of Mister Lăzărescu (2005) and Aurora (2010), which seem to break with what one would expect from minimalism. It is especially the emphasizing of the use of a cinematic medium in scenes where remediation occurs (cf. Bolter & Grusin, Rajewsky, Wolf) that seems to contradict the minimalist aim of giving the illusion of immediacy (cf. Pop). However, I argue that even such cases are rather subordinate to the minimalist style, since they contribute, for instance, to the reduction of the narrative, by avoiding the need for lengthy presentations and explanations.

  • 39.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Mircea Cartarescu en suédois: Entre sourcisme et ciblisme2017Inngår i: Orbis Litterarum, ISSN 0105-7510, E-ISSN 1600-0730, Vol. 72, nr 1, s. 51-87Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [fr]

    Dans cet article, nous analysons le phénomène de la réception d’un écrivain roumain en Suède, avec une attention particulière accordée au phénomène de la traduction et de l’éventuelle influence de cette traduction sur la réception. Il s’agitnotamment du premier volume de la trilogie Orbitor de Mircea Cartarescu, publié en 1996 et intitulé Orbitor. Aripa stânga en roumain, et traduit en 2004 en suédois comme Orbitor. Vänster vinge. Nous nous concentrons surtout sur le choix de la traductrice suédoise Inger Johansson en ce qui concerne lastratégie de rendre le texte transparent – le naturaliser – ou opaque – l’exotiser – pour le public suédois. Nous nous appuyons sur les discours theoriques sur les stratégies traductionnelles « sourcière » ou « cibliste », soulignant surtoutles enjeux culturels et éthiques d’un choix entre celles-ci. Pour ce faire, nous comparons la traduction suédoise avec les traductions en francais et en anglais, afin de mieux pouvoir dégager une stratégie.

  • 40.
    Lutas, Liviu
    Lund University.
    Mircea Cărtarescu en suédois – naturalisation ou exotisation?: un exemple de traduction et de réception de la littérature roumaine en Suède2012Inngår i: International Conference on Romance Languages – In Memoriam Alf Lombard, Lund University, The Pufendorf Institute, 7-8 november 2012., LUND, 2012Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Long time after their first use by Friederich Schleiermacher, the concepts of naturalization and alienation have been taken up by Lawrence Venuti (1995) in translation theory and renamed as domestication and foreignisation. The two concepts are based on the idea that the culture of the original text has to be approached in some way in the process of translation, either by adapting it to the context of the target language (domestication) or by adapting the target language to the context of the source text (foreignisation). As Lawrence Venuti claims, translations usually end up as: “an ethnocentric reduction of the foreign text [i.e. domestication] or an ethnodeviant pressure on those [target-language] values to register the linguistic and cultural difference of the foreign text [i.e. foreignisation]” (Venuti, 1995, p. 20).

     

    Both strategies have been criticized: domestication for betraying the culture of the source text, foreignisation for its elitistic touch (Robinson 1997, 109-112). Foreignisation can also be used to highlight the foreign identity of the source text and protecting it from the ideological dominance of the target culture, which is one of Venuti's concerns.

     

    In this paper, I will analyze some details of the translation of Mircea Cartarescu's novels from Romanian into Swedish in order to see if they can be classified according to the dichotomy domestication/foreignisation. I will also try to broaden the analysis by discussing the implications of the strategies which are used, especially when it comes to the reception of Cartarescu in Sweden.

  • 41.
    Lutas, Liviu
    Lund University.
    Narrative Metalepsis in Detective Fiction2011Inngår i: Metalepsis in Popular Culture / [ed] Kukkonen, Karin and Klimek, Sonja, Berlin: Walter de Gruyter, 2011, Vol. 28, s. 41-64Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [sv]

    Detta är en studie av den narrativa metalepsens förekomst i deckarlitteratur. Studien är publicerad som ett kapitel i en volym där man försöker fastställa en transmedial definition av metalepsen och där man undersöker företeelsen i tolv fallstudier i olika medier och populära kulturella yttringar: från film, TV-serier, tecknade filmer, grafiska romaner och populärlitteratur till popmusik, musikvideor, holografiska projektioner och "fan cultures".Metalepsen definieras som överträdelsen av gränsen mellan den fiktiva världen och (en representation av) den verkliga världen. Narrativa studier har hittills betraktat metalepsen som en företeelse som är typisk för postmodernistisk eller avantgardistisk litteratur. I denna volym undersöker man metalepsens roll i populärkulturen och spårar dess transmediella vikt via en mängd exempel.

  • 42.
    Lutas, Liviu
    Lund University.
    Narratology in Classroom: Using Narrative Metalepsis in Teaching Literature at Upper Secondary Level2011Inngår i: Critical Discourse and Linguistic Variation: New Investigation Perspectives : Receptions, Analyses, Openings: September 8-9, 2010, Suceava, România / [ed] Mircea A. Diaconu, Suceava: Editura Universitatii Stefan cel Mare, Suceava , 2011, s. 161-164Konferansepaper (Fagfellevurdert)
    Abstract [sv]

    I denna artikel undersöker jag spänningen mellan forskning i narratologi och undervisning i narratologi. Mitt främsta syfte är att analysera hur forskningen i detta äflt kan användas i undervisning. Studien görs på elever i gymnasiet i Sverige. Jag studerar elevernas reaktioner på ett så kallat "rambrytande" berättargrepp: den narrativa metalepsen. Samtidigt ifrågasätter jag vissa teoretiker enligt vilka narratologi inte borde användas på gymnasienivå. Särskilt "rambrytande" grepp kan orsaka problem för eleverna i enlighet med vissa studier. Mitt syfte är att utmana denna ståndpunkt och att främja användningen av så kallade rambrytande grepp i undervisning om berättaren  och olika möjliga berättarnivåer. Metalepsen studeras i film, men ur ett intermedialt perspektiv och med en intermedial uppföljning.

  • 43.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Nya metoder och gamla begrepp – Hur eye-tracking-tekniken kan användas inom intermediala studier2013Konferansepaper (Fagfellevurdert)
  • 44.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Paradoja y metalepsis narrativa en el cuento“El otro”, de Jorge Luis Borges2015Inngår i: Tópicos del Seminario: Revista de Semiótica, ISSN 1665-1200, nr 34, s. 131-153Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [es]

    En el presente artículo investigaré la relación entre la paradoja y la metalepsis narrativa, basándome en el cuento “El otro” de Jorge Luis Borges. Hay en la metalepsis una dimensión paradójica a causa de la transgresión del límite entre el mundo del narrador y el mundo narrado, dos mundos que deberían permanecer ontológicamente separados. Sin embargo, hay algunas subclases de metalepsis en las que la transgresión no es de tipo ontológico. El cuento de Borges me parece ejemplar para ilustrar y problematizar las clasificaciones de la metalepsis y para mostrar lo débil que es establecer un tipo de narración sobre la base del criterio de la paradoja.

  • 45.
    Lutas, Liviu
    Lund University.
    « Paradoxalt berättande » i litteraturundervisning på gymnasiet2011Inngår i: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, Vol. 41, nr 3-4, s. 131-144Artikkel i tidsskrift (Annet vitenskapelig)
    Abstract [sv]

    Denna artikel knyter an till temat i Tidskrift för litteraturvetenskap 2010:3-4, ”Litteraturvetenskap och didaktik”. Artikeln är ett inlägg i debatten kring läsarorienterad respektive textnära litteraturundervisning. Jag presenterar två undervisningsmoment där jag tagit upp exempel på det som kallas paradoxalt berättande, det vill säga verk innehållande berättartekniska grepp som på ett eller annat sätt bryter mot berättarnormerna. Slutsatsen är att de metafiktiva greppen inte nödvändigtvis blockerar läsförståelsen, utan tvärtom kan användas som verktyg för undervisning i berättarteknik.

  • 46.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Producing Knowledge by Relating Form and Meaning: Intermedial Relations in the Narratives of Juan García Ponce and Marie Ndiaye2014Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This paper will investigate how narrative can produce knowledge when studied from the point of view of the relations between different media. More exactly, I will apply theories of intermediality and iconicity to a close reading of two narratives: the first part of the novel Three Strong Women from 2009 by the French author Marie Ndiaye and El café, a short story from 1963 by the Mexican author Juan García Ponce. I will analyze the way in which these narratives can be said to imitate paintings. This kind of imitation, baptized as “intermedial imitation” by German theorist Werner Wolf, takes place when “the signifiers of the work and/or its structure are affected by the non-dominant medium, since they appear to imitate its quality or structure” (Wolf, 2002:25). According to semiotician Winfried Nöth, such relations could be classified as a typical case of iconicity, in which the form of one medium imitates the form of another medium, or “form miming form” (Nöth, 2001:18). Swedish intermediality theorist Lars Elleström is of the opinion that iconicity should even include all cases of meaning or form miming meaning and form, something which is debated in iconicity studies. However, Elleström’s hypothesis seems valid in both narratives I will study.

    It must be mentioned that the intermedial imitations in my examples concern stories miming painting in general. This could be studied as a case of model ekphrasis, according to Tamar Yacobi’s classification. A closer look at García Ponce’s short story shows that it might imitate a specific painting, as in the case of Yacobis one-to-one ekphrases: more exactly Edward Hopper’s Nighthawks. I will argue that even if Hopper’s painting isn’t mentioned explicitly, an acceptance of its palimpsestic presence contributes to a more interesting reading thanks to the meaning it adds to the story.

  • 47.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Remediation and Minimalism in New Romanian Cinema: The Example of Cristi Puiu2019Inngår i: The New Romanian Cinema / [ed] Christina Stojanova, Dana Duma, Edinburgh: Edinburgh University Press, 2019, s. 107-120Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    This chapter addresses the question of minimalism in New Romanian Cinema, as exemplified and epitomised by Cristi Puiu’s films, in relation to cases of remediation. It mainly follows Doru Pop’s definition of Puiu’s minimalism as a reduction of cinematic language to its basics, or as a ‘technical abstinence’, with the purpose of concentrating on the essentials, on ‘pure and simple realities’ (2014: 66). With regard to the concept of ‘remediation’, the chapter follows Jay David Bolter’s and Richard Grusin’s definition, which refers to the ‘representation of one medium in another’ (1999: 45). A close look at the minimalism of New Romanian Cinema films shows, surprisingly, that it allows a certain degree of stylisation, even of the kind that actually highlights the use of a medium. Therefore, it is intriguing to considerepisodes in which Cristi Puiu’s films introduce, sometimes just through subtleallusions, cases of remediation. Thus in an attempt to reconcile the apparent paradox of the use of remediation in minimalistic films, the chapter offers a close look at a few instances of remediation and its various functions.

  • 48.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Representations of the Anthropocene in Narratives for Children2018Inngår i: 2018 International Conference on Narrative: April 18 - 22, Montreal, Quebec, Canada, Montréal: McGill University , 2018Konferansepaper (Fagfellevurdert)
  • 49.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Réalisme magique ou fantastique ?: Stratégies narratives dans la réappropriation des traumatismes historiques2017Inngår i: Moderna Språk, ISSN 2000-3560, E-ISSN 2000-3560, Vol. 111, nr 1, s. 59-82Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [fr]

    Cet article commence par une discussion théorique autour des différences et des similitudes entre le réalisme magique et le fantastique, particulièrement en ce qui concerne leur relation avec la catégorie du réel, et par conséquent la possibilité d’appliquer ces concepts à l’écriture sur le passé. Ces genres, ou ces modes, comme nous préférons de les voir, peuvent sembler incompatibles avec le but d’écrire sur des événements réels qui ont eu lieu dans le passé. Dans de telles tentatives, on préfère traditionnellement un style réaliste, dans lequel la réalité est considérée en accord avec les principes de la rationalité et de la logique. La fiction en général peut être vue comme inappropriée dans le contexte de l’historiographie. Or, plusieurs théoriciens ont essayé de montrer que la fiction, même quand elle est d’un genre qui semble antiréaliste, peut être utilisée pour écrire sur le passé réel, surtout quand ce passé est marqué par le trauma.

    Sur la base de cette introduction théorique, nous analysons deux ouvrages littéraires écrits par deux auteurs francophones lauréats du prix Goncourt : Biblique des derniers gestes de Patrick Chamoiseau (2002) et Trois femmes puissantes de Marie Ndiaye (2009). Les deux ouvrages se présentent comme des manières originales de se réapproprier un passé traumatique et profondément caché, par l’emploi d’un style qui peut être vu comme proche du réalisme magique ou du fantastique. 

  • 50.
    Lutas, Liviu
    Linnéuniversitetet, Fakulteten för konst och humaniora (FKH), Institutionen för språk (SPR).
    Storyworlds and Paradoxical Narration: Putting Classifications to a Transmedial Test2015Inngår i: Narrative Theory, Literature, and New Media: Narrative Minds and Virtual Worlds / [ed] Mari Hatavara, Matti Hyvärinen, Maria Mäkelä, Frans Mäyrä, New York and London: Routledge, 2015, s. 29-49Kapittel i bok, del av antologi (Fagfellevurdert)
    Abstract [en]

    The main goal of this article is to put the classification of the so called paradoxical narrative devices to a transmedial test. There are four paradoxical narrative devices: metalepsis, syllepsis, epanalepsis and hyperlepsis. I focus here on metalepsis and syllepsis, and I examine if some of the classification premises change when the two devices are considered in the way they appear in other media than only verbal, especially film.

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