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Anna Sofia Rossholm, Ingmar Bergman Och Den Lekfulla Skriften

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Anna Sofia Rossholm, Ingmar Bergman Och Den Lekfulla Skriften Samlaren Tidskrift för forskning om svensk och annan nordisk litteratur Årgång 140 2019 I distribution: Eddy.se Svenska Litteratursällskapet REDAKTIONSKOMMITTÉ: Berkeley: Linda Rugg Göteborg: Lisbeth Larsson Köpenhamn: Johnny Kondrup Lund: Erik Hedling, Eva Hættner Aurelius München: Annegret Heitmann Oslo: Elisabeth Oxfeldt Stockholm: Anders Cullhed, Anders Olsson, Boel Westin Tartu: Daniel Sävborg Uppsala: Torsten Pettersson, Johan Svedjedal Zürich: Klaus Müller-Wille Åbo: Claes Ahlund Redaktörer: Jon Viklund (uppsatser) och Sigrid Schottenius Cullhed (recensioner) Biträdande redaktör: Karl Berglund, Niclas Johansson, Camilla Wallin Lämsä Inlagans typografi: Anders Svedin Utgiven med stöd av Vetenskapsrådet Bidrag till Samlaren insändes digitalt i ordbehandlingsprogrammet Word till [email protected]. Konsultera skribentinstruktionerna på sällskapets hemsida innan du skickar in. Sista inläm- ningsdatum för uppsatser till nästa årgång av Samlaren är 15 juni 2020 och för recensioner 1 september 2020. Samlaren publiceras även digitalt, varför den som sänder in material till Samlaren därmed anses medge digital publicering. Den digitala utgåvan nås på: http://www. svelitt.se/samlaren/index.html. Sällskapet avser att kontinuerligt tillgängliggöra även äldre årgångar av tidskriften. Svenska Litteratursällskapet tackar de personer som under det senaste året ställt sig till för- fogande som bedömare av inkomna manuskript. Svenska Litteratursällskapet PG: 5367–8. Svenska Litteratursällskapets hemsida kan nås via adressen www.svelitt.se. isbn 978–91–87666–39–1 issn 0348–6133 Printed in Lithuania by Balto print, Vilnius 2019 Övriga recensioner · 431 nan, Astrid Lindgrens Pippi Långstrump. I arti- i en dikt av Johannes Anyuru översätts med ”deaf keln ”Exploring” diskuterar samme forskare Per flocks of birds” (516) är mer allvarligt, eftersom det Kalms En Resa til Norra Amerika, Anders Fred- påverkar forskarens tolkning av dikten. Det är inte rik Skjöldebrands Voyage pittoresque au Cap Nord för mycket begärt att en person med svenska som och Fredrika Bremers Hemmen i den nya världen. modersmål hade fått möjlighet att se över en vo- I ”Northern bound: Exploring and colonizing the lym med så många arbeten om litteratur på svenska. Nordic Far North” behandlar DuBois bilden av Sammantaget skall sägas att de femtioen spridda samer hos Olaus Magnus, Johannes Schefferus och essäerna är kvalificerade och ofta erbjuder intres- Carl von Linné. sant läsning. Det är sällan författarna kommer med Kjerstin Moody från Gustavus Adolphus Col- direkt nya rön, och de kartlägger aldrig outfors- lege, USA, reflekterar i ”By land, by sea, by air, by kade områden. Med ett tema som ”spatial nodes” mind: Traversing externally internally via the trope ger volymen upphov till teoretiska läsningar, i re- of the bird in Finnish and Swedish poetry” över få- gel ganska korta (10–15 sidor), som ofta inspirerar geln som symbol i dikter av Esaias Tegnér, Erik Jo- och skänker nya perspektiv. Det största värdet lig- han Stagnelius, Johan Ludvig Runeberg – i samtliga ger i att volymen så tydligt visar hur fruktbart ett fall dikter med titeln Flyttfåglarna – samt Johannes komparativt nordiskt perspektiv är och hur mycket Anyurus dikt Tid. Dessa verk diskuteras i relation de olika nordiska ländernas litteratur verkligen be- till några samiska och finska dikter. lyser varandra. Det stora intresset hos forskare utomlands Daniel Sävborg för svensk litteratur är glädjande. Överlag är de- ras kunskaper stora, oväntat stora när det gäller många av idag betydligt mindre kända verk som Anna Sofia Rossholm,Ingmar Bergman och den Mellins, Bergroths och Nordströms romaner ovan. lekfulla skriften. Studier av anteckningar, utkast och Samtidigt är det tråkigt att motsvarande intresse filmidéer i arkivets samlingar. Makadam. Göteborg för grannländernas litteratur synes vara betydligt och Stockholm 2017. mindre framträdande hos dagens svenska litteratur- vetare. Det märks redan i den aktuella volymen, där The centennial of Ingmar Bergman’s birth in 2018 de svenska forskare som deltar ägnar sig uteslutande offered the occasion for renewed consideration eller huvudsakligen åt svenska eller svenskspråkiga of his life and work, and in particular, his writing verk. Anders Olsson skriver om Gunnar Björling drew fresh attention. In 2002 Bergman donated (”The limits of the unlimited: Gunnar Björling’s his archives to the newly formed Ingmar Bergman wordscape”), Henrik Johnsson om Strindberg, Foundation, and that year saw the publication of Emelie Flygare-Carlén och John Ajvide Lindqvist Maaret Koskinen’s I begynnelsen var ordet (“In the (”Archipelago”), Anna Smedberg Bondesson om Beginning was the Word”). Koskinen was the first C.J.L Almqvist, Kerstin Ekman, Hjalmar Bergman scholar to be allowed access to his writings, and och Birger Sjöberg (”Through the land oflagom in her analyses soon made clear the richness of this literature: Passing small towns in middle Sweden”) unexplored material. Her study opened a new di- och Arne Melberg skriver huvudsakligen om Axel rection in Bergman scholarship: a close analysis of Munthe (”South of the South: Literary Capri”). his writing. By 2018, Bergman archivist Jan Holm- Det förefaller finnas ett behov av ett större intresse berg, in his Författaren Ingmar Bergman (“The Au- hos svenska forskare för även annan litteratur än thor Ingmar Bergman”), goes so far as to propose den svenska. I synnerhet kan man hoppas på att that Bergman might have been a more important svenska forskare inser hur fruktbart ett allnordiskt author than he was a filmmaker, at least in the con- perspektiv ofta är även i studiet av svenska verk; text of Swedish culture. Oddly, as both Holmberg detta visar den aktuella volymen tydligt. and now Anna Sofia Rossholm (in the study un- Hur glädjande det än är att ickesvenska fors- der review here) point out, Bergman himself de- kare undersöker svensk litteratur finns ändå ibland clared that he had no ambition to become an au- praktiska problem med detta, kopplade till språket. thor, but like many of his declarations about him- Man kan väl leva med uppgiften att Creutz skulle self and his work, one should be cautious about tak- ha skrivit ”Sommer-Kväde” (35) och att Stagnelius ing him at his word. skulle ha talat om ”frammande land” (507) – och In her book Ingmar Bergman och den lekfulla en hel del liknande – men att ”dova fågelflockar” skriften (“Ingmar Bergman’s Playful Writing”), 432 · Övriga recensioner Anna Sofia Rossholm does not concern herself mental play. This is a somewhat different image of with the question of whether Bergman was a “real” the filmmaker than the one that focuses on the bi- literary or textual author. For whether Bergman ographical details of his life — his father the priest, was an authentic author in that literary sense or not, his formidable mother, his series of wives and lov- he most certainly was a writer. Rossholm explores ers — and tries to find the key for understanding his the central role of writing in Bergman’s cinematic films through that lens. Instead Rossholm unpacks work, moving from his workbooks to his film- the methodology of Bergman’s work and shows us scripts to his films. She investigates what his writ- the “how” of his creative process, which she defines ing and sketches reveal about his creative process as “play” [lek], “materialized in the movement of in general, which she defines as “play as aesthetic writing” [“materialiserad i skriftens rörelse”] (25). act” (lek som estestisk handling, 14). In Swedish she Rossholm’s first chapter, “Perspective,” demon- uses the word “leka” for “play” that one associates strates what she means by this odd notion of “mov- with children’s play: unstructured, light-hearted, ing writing.” The phrase alludes to the way in which creative. Swedish uses a different word,spela, to a text is transformed in revisions and new versions, refer to what actors or musicians do. In her read- and she refers back to French theorists Roland Bar- ing of how Bergman engages with his writing, both thes and Jacques Derrida as sources for her charac- words might be appropriate: Bergman is “playful” terization of this movement as play. As she notes, (lekfull) as he doodles in his notebooks, engages the writing that forms the basis for a film is per defi- in wordplay, free associates, and allows himself to nition writing that moves from one medium to an- be distracted when his pen falls out the window. other. But even between texts, or even within a text, But Bergman “plays” (spelar) with his material, or Bergman’s writing moves in the sense that he shifts rather, makes his writing into a play (spel) when pronouns, divides his “I” into different figures, as- he creates characters in dialogue with their author signs names to nameless characters as they develop, and with each other, when he makes those charac- and so on. One of the sections in this chapter is ters antagonists, and pits them against each other in entitled “Writing as Transformation” [“Skrift som sometimes harrowing games (also spel in Swedish). förvandling”], which is a brief characterization of Rossholm’s close reading of Bergman’s writing re- the kind of play and magic she traces through her veals both the lek and the spel of his creative process. close reading of Bergman’s texts. In her introduction Rossholm sets the stage for The next chapter, which focuses on Bergman’s how she plans to trace Bergman’s playful method workbooks, features a penetrating close reading of through a close comparison of different versions of
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