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Swedish Literature on the British Market 1998-2013: a Systemic
Swedish Literature on the British Market 1998-2013: A Systemic Approach Agnes Broomé A thesis submitted for the degree of Doctor of Philosophy UCL Department of Scandinavian Studies School of European Languages, Culture and Society September 2014 2 I, Agnes Broomé, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. …............................................................................... 3 4 ABSTRACT This thesis examines the role and function of contemporary Swedish fiction in English translation on the British book market in the period 1998-2013. Drawing on Bourdieu’s Field Theory, Even Zohar’s Polysystem Theory and DeLanda’s Assemblage Theory, it constructs a model capable of dynamically describing the life cycle of border-crossing books, from selection and production to marketing, sales and reception. This life cycle is driven and shaped by individual position-takings of book market actants, and by their complex interaction and continual evolution. The thesis thus develops an understanding of the book market and its actants that deliberately resists static or linear perspectives, acknowledging the centrality of complex interaction and dynamic development to the analysis of publishing histories of translated books. The theoretical component is complemented by case studies offering empirical insight into the model’s application. Each case study illuminates the theory from a different angle, creating thereby a composite picture of the complex, essentially unmappable processes that underlie the logic of the book market. The first takes as its subject the British publishing history of crime writer Liza Marklund, as well as its wider context, the Scandinavian crime boom. -
LE HAVRE Aki Kaurismäki
SPUTNIK, PYRAMIDE PRODUCTIONS AND PANDORA FILM PRESENT ANDRÉANDRÉ KATIKATI JEAN-PIERREJEAN-PIERRE BLONDIN WILMSWILMS OUTINENOUTINEN DARROUSSINDARROUSSIN MIGUEL LELE HAVREHAVREa film by Aki Kaurismäki PRODUCTIONS Sputnik Oy Pyramide Productions Pandora Film Museokatu 13 A 5 rue du Chevalier de Saint George Balthasarstrasse 79 00100 Helsinki 75 008 Paris 50670 Koeln Finland France Germany Tel : +358 9 6877 100 Tel : +33 (0)1 40 20 13 60 Tel : +49 221 973 320 Fax : +358 9 6877 1010 Fax : +33 (0)1 42 96 05 90 Fax : +49 221 973 329 [email protected] [email protected] [email protected] www.pyramide-productions.com www.pandorafilm.com INTERNATIONAL SALES FESTIVALS The Match Factory GmbH Finnish Film Foundation Balthasarstrasse 79-81 in Cannes Kanavakatu 12 in Cannes 50670 Koeln Résidence ”La Bagatelle” 00160 Helsinki Scandinavian Terrace Germany 4ème étage Finland 55, La Croisette Tel : +49 221 539 709 - 0 25 La Croisette Tel : +358 9 6220 300 Jaana Puskala, Fax :+49 221 539 709 10 Tel : +33 (0)4 93 99 66 98 Fax :+358 9 6220 3050 Tel : +358 50 593 2068 [email protected] Fax :+33 (0)4 93 99 68 33 [email protected] Jenni Domingo, www.the-match-factory.com www.ses.fi Tel : +358 40 841 2849 INTERNATIONAL PRESS FRENCH PRESS SPUTNIK, PYRAMIDE PRODUCTIONS AND PANDORA FILM PRESENT Wolfgang W. Werner Public Relations eva Simonet Tal 46 in Cannes Galatée films 80331 Muenchen Christiane Leithardt 19, avenue de Messine - 75008 Paris Germany Cell : +49 179 104 80 64 France Tel :+49 89 38 38 67-0 Wolfgang Werner Cell Paris and Cannes : +33 6 62 -
Pressmaterial Mannen Från Le Havre
ANDRÉ KATI JEAN-PIERRE BLONDIN WILMS OUTINEN DARROUSIN MIGUEL FOLKETS BIO PRESENTERAR ELINA SALO EVELYNE DIDI QUOC-DUNG NGUYEN LAIKA FRANÇOIS MONNIÉ ROBERTO PIAZZA A.K.A LITTLE BOB PIERRE ÉTAIX JEAN-PIERRE LÉAUD Manus, regi och producent AKI KAURISMÄKI Regiassistent GILLES CHARMANT Foto TIMO SALMINEN Chefselektriker OLLI VARJA Ljud TERO MALMBERG Scenografi WOUTER ZOON Kostym FRED CAMBIER Smink VALÉRIE THÉRY-HAMEL Klippning TIMO LINNASALO Produktionsledare CLAIRE LANGMANN RÉMI PRADINAS MARK LWOFF Exekutiva producenter STÉPHANE PARTHENAY HANNA HEMILÄ Medproducenter FABIENNE VONIER, REINHARD BRUNDIG Produktion SPUTNIK OY PYRAMIDE PRODUCTIONS PANDORA FILM i samproduktion med ARTE FRANCE CINÉMA ZDF/ARTE med stöd av FONDATION DU CINÉMA FINLANDAIS CANAL+ NORDISK FILM & TV FOND CENTRE NATIONAL DU CINÉMA ET DE L’IMAGE ANIMÉE YLE COPRODUCTIONS CINÉ+ ARTE FRANCE RÉGION HAUTE NORMANDIE Marcel Marx har ett förflutet som författare ochär en Det han står emot ett blint statsmaskineri, denna gång i välkänd bohem. Nu har har gått i frivillig exil i hamnstaden form av ett polispådrag som med stormsteg närmar sig den Le Havre där han känner att han får en bättre relation till lilla flyktingpojken. sina medmänniskor genom det hederliga, men kanske inte Det är dags för Marcel att putsa skorna och visa tänderna. så lönsamma arbetet som skoputsare. Han har begravt drömmarna om ett litterärt genombrott och lever ett ”Den europeiska filmen har varit dålig på att skildra den bekymmersfritt liv som han delar mellan baren, jobbet och ständigt växande finansiella, politiska och framför allt sin under bara fru Arletty, tills en dag hans väg korsas av en moraliska kris som har lett fram den sedan länge olösta minderårig illegal flykting från mörkaste Afrika. -
The Historian-Filmmaker's Dilemma: Historical Documentaries in Sweden in the Era of Häger and Villius
ACTA UNIVERSITATIS UPSALIENSIS Studia Historica Upsaliensia 210 Utgivna av Historiska institutionen vid Uppsala universitet genom Torkel Jansson, Jan Lindegren och Maria Ågren 1 2 David Ludvigsson The Historian-Filmmaker’s Dilemma Historical Documentaries in Sweden in the Era of Häger and Villius 3 Dissertation in History for the Degree of Doctor of Philosophy presented at Uppsala University in 2003 ABSTRACT Ludvigsson, David, 2003: The Historian-Filmmaker’s Dilemma. Historical Documentaries in Sweden in the Era of Häger and Villius. Written in English. Acta Universitatis Upsalien- sis. Studia Historica Upsaliensia 210. (411 pages). Uppsala 2003. ISSN 0081-6531. ISBN 91-554-5782-7. This dissertation investigates how history is used in historical documentary films, and ar- gues that the maker of such films constantly negotiates between cognitive, moral, and aes- thetic demands. In support of this contention a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius are discussed. Other historical documentaries supply additional examples. The analyses take into account both the produc- tion process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-produc- tion. But different considerations have particular inuence at different stages in the produc- tion process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. -
Larin Paraske, Finnish Folk Poet
NO. 76 | F AL L 2018 a quarterly publication of the ata’s literary SOURCE division FEATURING NORTHERN LIGHTS LD PROGRAM, ATA 59 CONTEMPORARY SCANDINAVIAN LITERATURE LARIN PARASKE, FINNISH FOLK POET REVIEW: Misha Hoekstra’s translation of the Danish novel Mirror, Shoulder, Signal WORDS, WORDS, WORDS: Our isoisä from Vaasa SOURCE | Fall 2018 1 IN THIS ISSUE FROM THE EDITORS.................................................................3 SUBMISSION GUIDELINES .....................................................4 LETTER FROM THE LD ADMINISTRATOR ..........................5 LD PROGRAM AND SPEAKER BIOS FOR ATA 59................7 READERS’ CORNER.................................................................11 LARIN PARASKE, FINNISH FOLK POET/SINGER by Frances Karttunen..................................................................13 CONTEMPORARY SCANDINAVIAN LITERATURE by Michael Meigs.........................................................................25 REVIEW OF MISHA HOEKSTRA’S TRANSLATION OF MIRROR, SHOULDER, SIGNAL by Dorthe Nors by Michele Aynesworth...............................................................37 WORDS WORDS WORDS COLUMN: Our isoisä from Vaasa..................................................................44 by Patrick Saari BY THE WAY: TOONS by Tony Beckwith........................................................24, 36, 43 CREDITS....................................................................................49 © Copyright 2018 ATA except as noted. SOURCE | Fall 2018 2 From the Editors he Nordic countries -
Le Havre Countries: Finnland, France, Germany Year: 2012 Writer &Director: Aki Kaurismäki Cinematography: Timo Salminen Editing: Timo Linnasalo
Le Havre Countries: Finnland, France, Germany Year: 2012 Writer &Director: Aki Kaurismäki Cinematography: Timo Salminen Editing: Timo Linnasalo CAST André Wilms, Kati Outinen, Jean-Pierre Darroussin, www.chelmsford-filmclub.co.uk Blondin Miguel, Elina Salo, Evelyne Didi, Quoc Dung Nguyen, François Monnié, Little Bob (as Roberto Piazza), Laïka the dog. ‘Aki Kaurismäki’s Le Havre is a film you want to hug. It is so adorable – like a loved mutt – that it lowers your blood pressure while heightening your besotted and caring interest. In a noirish corner of north-west France the former author and social rebel Marcel Marx (Kaurismäki regular André Wilms) employs himself as a shoe-shiner. In a vocational acte gratuit (existentialism alert!) he has gone native with the common people. He is now a one-man catchment and protection area for foreign fugitives, such as the young Gabon stowaway Idrissa (Blondin Miguel) pursued by immigration police. Imagine a plot made from Rimbaud, Camus and Simenon, mixed together, then served with a festive cracker and funny hat. Kaurismäki finds that point where a basilisk spoofiness intersects with a throbbing verismo. You can take the film seriously: the ominous music, shadow-edged décor, men in hats pursuing men without. Or you can giggle in pastiche-lovers’ delight. Or you can do both. This is the temps perdu of novelist Céline and filmmakers Melville and Carné. People say solemnly surreal lines like “She is the road manager of my soul.” And who could resist the Dadaist scene of a brooding black-coated detective (Jean-Pierre Darroussin) sitting in a bar holding a pineapple, drinking a Calvados, pondering unsolved crimes? Maigret meets Magritte. -
Department of Scandinavian Studies
DEPARTMENT OF Scandinavian Studies Message from the Chair TERJE LEIREN Celebrating the centennial of its founding is a significant milestone for any institution, no less an academic department at a major research university. Since its establishment by an act of the Washington State Legislature in 1909, the Department of Scandinavian Studies has grown and prospered, largely due to the dedication of its faculty and staff and the excellent character and quality of its students. To com- memorate the milestone, several celebratory events, including lectures, dinners, special programs, and conferences are being scheduled between now and the summer of 2010. Please stay in touch with us, check our departmental website, and plan to attend as many events as you can over the next two years. Of course, at the heart of what we do in the Department is teaching and scholarship. Cutting-edge research and innovative teaching enhance and broaden our knowledge about, and appreciation of, the Nordic region. Our comprehensive language programs and wide range of course offerings focusing on the five Nordic countries and the three Baltic countries make the Department unique in the world. The UW is the only North American university that regularly teaches Estonian, Latvian and Lithuanian. In 2009–2010, we will celebrate the 15th anniversary of the Baltic Studies program. By its very nature, the teaching at a research university is informed by the research of its teachers. All of the faculty in the Department of Scandinavian Studies are active scholars who bring their SPRING 2008 research back into the classroom, whether it be for a graduate seminar on literary theory, a discus- sion of Strindberg’s Paris, a broad introductory course on Scandinavian culture, or an advanced undergraduate course on the cinematic expressions of Scandinavian attitudes about sexuality or crime fiction. -
Guilloutinen
Paul Frigyes Guilloutinen Biografi om Jan Guillou Lindelöws Bokförlag 3 Innehåll Förord november 2014 • 7 Akt 1 Ikonen • 9 Akt 2 Vägen till scenen • 25 Akt 3 I Botolfsens trädgård • 97 Akt 4 TV-stjärnan och folkhjälten • 151 Akt 5 Berättare med ett kall • 211 Akt 6 Krönikor, agitation och bataljer • 239 Akt 7 KGB och kalla krigets återkomst • 263 Akt 8 Enmansprocessionen • 283 Akt 9 Åter till Saltis • 291 Epilog Därför stoppades boken • 293 Jan Guillous bokutgivning • 303 Källor • 305 Personregister • 309 5 Förord – Men varför vill du egentligen skriva en bok om Jan? Jan Guillous fru Ann-Marie Skarp ställer frågan i ett skeptiskt tonfall när hon tar emot mig i sitt rum på Piratförlaget, på Öster- malm. Jag finner frågan besynnerlig. Självfallet är väl en av de mest kontroversiella och centrala gestalterna i senaste halvseklets me- dievärld intressant för många. En rimligare fråga vore varför ingen tidigare skrivit en bok om honom. Ann-Marie Skarp ser inte nöjd ut efter mitt svar. – Är det en skandalbok? – Inte alls. Mitt svar är uppriktigt menat. Jag vill förstå personen, yrkes- mannen och fenomenet Jan Guillou. Dessa tre aspekter hänger givetvis ihop. Men de är också nästan besynnerligt skilda åt. Många avskyr personen Guillou, respekterar yrkesmannen men älskar fenomenet Guillou. Så hur hänger de tre delarna ihop? Först har vi personen, hans drivkrafter och bakgrund som berät- telserna har sitt upphov i. Våra egna liv är ofta målade i gråskalor, i Guillous berättelser härskar de bjärta färgerna. Vad i hans egna livserfarenheter ger upphov till detta? Sedan har vi historien om yrkesmannen Jan Guillou. -
The Auteurial-National Nexus and Aki Kaurismäki's Finland Trilogy
“Our Aki” The auteurial-national nexus and Aki Kaurismäki’s Finland trilogy Sanna Peden Bachelor of Arts (European Studies) Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities European Studies 2012 Abstract This thesis explores the interconnections of ‘Finnishness’ and ‘Kaurismäkianness’ in and around Aki Kaurismäki’s so-called Finland trilogy: Drifting Clouds (1996), The Man Without A Past (2002) and Lights in the Dusk (2006). The thesis addresses how Kaurismäki, whose work and public persona have tended to be critical of national institutions and preoccupations, has developed into an increasingly national figure in Finland’s years of Europeanisation. In order to examine the links between ‘Finnishness’ and ‘Kaurismäkianness’ I establish, first, the way in which Kaurismäki’s films engage with national themes; and, second, the way in which this Kaurismäkian take on Finnishness is received and further appropriated in Finland. I provide a textual analysis of each of the focus films, paying particular attention to their national aspects and their references to Kaurismäki’s other films. I combine this close analysis of the film texts with discussion of the context of the films, their media presence and ‘afterlife’, for example the discourses surrounding the films after their initial release or the ways in which their ‘Kaurismäkianness’ has been appropriated by others for specifically national purposes. In seeking to understand how Kaurismäki’s auteurial engagement with narratives of Finnishness feeds back into Finnish society this thesis contributes to current debates about the relationship between auteurs and national identity. -
Van KGB-Sp'ion Tot Meesterschrljver De Zweedse Auteur Jan Guillou Werkt Aan Zljn• • Magnum Opus, Een Romancyclus Over De Twintigste Eeuw
IJan Guillou Van KGB-sp'ion tot meestersChrljver De Zweedse auteur Jan Guillou werkt aan zlJn• • magnum opus, een romancyclus over de twintigste eeuw. Daarvoor was hij vooral ~... bekend om zijn thrillers en als de onthuller ..- -'~ van het Zweedse 'Watergate'. 'Woodward en Bernstein kregen de Pulitzer-prijs, Ik tien maanden cel.' tekst & beeld Rutger Vahl JANGUILLOU et is het veiligste land van Europa, maar ner 'Journalisten in de bak om gens tiert het spiona ge- en thrillergenre zo wat ze schrijven? In Zweden? welig als in Zweden. Zijn de Zweden geob Op dat moment had ik nog sedeerd door alles wat hun Ikea-woning bedreigt? Dat ook. Maar er is meer aan de zeven uur in vrijheid te gaan.' hand. Nergens is het misdaadgenre zo politiek geladen als in Zweden. Niet alleen het bloed druipt van de pagina's, maar ook de maatschappijkritiek. In hun misdaad romans tonen Zweedse schrijvers de ware De ruimte waar hij zijn bestsellers schrijft, delen er nog volgen, weet hij niet. aard van de samenleving. Die lijkt zo ge doet nog het meest denken aan een zaal in Heeft hij tijd van leven, dan eindigt zijn moedelijk en welvarend, maar onderhuids het Londense National History Museum. magnum opus op 11 september 2001. "Ik broeit en stinkt het. Laten we niet vergeten Dezelfde afmetingen. Dezelfde hoeveel wilde mezelf uitdagen om een traditionele dat Zweden het enige Europese land is heid opgezette dieren. Guillou heeft zich familiekroniek te schrijven die de hele waar de afgelopen 25 jaar twee keer een omringd met antilopen- en impalakop twintigste eeuw zou omvatten. -
Die Welt Des Aki Kaurismäki
Die Welt des Aki Kaurismäki »Das Kino ist der einzige Ort, an dem der Mensch immer Kaurismäkis filmische Mittel orientieren sich an noch frei ist. Und wie Camus und Reich gesagt haben, be- Robert Bresson, Jean-Pierre Melville, und Yasujirō Ozu steht das größte Bedürfnis des Menschen darin, der Frei- – sie werden bestimmt von einer klaren Bildsprache, heit zu entfliehen, was den Zuschauerschwund der Kinos dem reduzierten Spiel der Darsteller und einem präzi- erklärt. Die Menschen meiden den einzigen Ort, an dem sen Schnitt. Kaurismäkis eigenwilliger Sinn für Humor sie ihrer Phantasie freien Lauf lassen könnten, und stre- ben nach einem Zustand der beruhigenden Gefangen- verbindet ihn zudem mit Luis Buñuel, Charles Chaplin schaft, zum Beispiel in die Nähe eines Videorekorders.« und Buster Keaton. Typisch für Aki Kaurismäki ist sein psychologischer Anti-Realismus, der Mangel an äuße- »Die Kunst ist so wie das Gebet eine ins Dunkle aus- ren Emotionen. Da spürt man eine Verwandtschaft mit gestreckte Hand«, sagte Frank Kafka nach Gustav Ja- der Tradition des japanischen Theaters. nouch. Aki Kaurismäkis ausgestreckte Hand ist seit den Das Bewusstsein vom Ende der Kunst ist ein Grund- Aki Kaurismäki 1980er Jahren weltweit gerne angenommen worden, gefühl in Kaurismäkis Kino. »Es gibt ein Kino vor und 74 von Tokio bis Buenos Aires. Der Name Kaurismäki wur- nach Godard«, sagte Richard Roud; Aki Kaurismäkis de zu einem Markenzeichen. »Die Welt des Aki Kauris- Filme sind dem postmodernen Kino zuzurechnen. Die mäki« ist zwar in Finnland entstanden, findet sich aber Komplexität von Jean-Luc Godards Metakino in Kau- auch in London, Paris, und Le Havre wieder. -
National Security and Secret Evidence in Legislation and Before the Courts
National Security and Secret Evidence in Legislation and before the Courts: Exploring the Challenges Didier Bigo, Sergio Carrera, Nicholas Hernanz and Amandine Scherrer No. 78/ January 2015 Abstract This study provides a comparative analysis of the national legal regimes and practices governing the use of intelligence information as evidence in the United Kingdom, France, Germany, Spain, Italy, the Netherlands and Sweden. It explores notably how national security can be invoked to determine the classification of information and evidence as 'state secrets' in court proceedings and whether such laws and practices are fundamental rights- and rule of law-compliant. The study finds that, in the majority of Member States under investigation, the judiciary is significantly hindered in effectively adjudicating justice and guaranteeing the rights of the defence in ‘national security’ cases. The research also illustrates that the very term ‘national security’ is nebulously defined across the Member States analysed, with no national definition meeting legal certainty and “in accordance with the law” standards and a clear risk that the executive and secret services may act arbitrarily. The study argues that national and transnational intelligence community practices and cooperation need to be subject to more independent and effective judicial accountability and be brought into line with EU 'rule of law' standards. This document was originally commissioned by the European Parliament's Committee on Civil Liberties, Justice and Home Affairs (LIBE) and published in December 2014. It is available for free downloading on the European Parliament’s website (www.europarl.europa.eu/RegData/etudes/STUD/2014/509991/IPOL_STU(2014)509 991_EN.pdf) and is republished by CEPS with the kind permission of the Parliament.