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Publisher: Aarhus Universitet   (Total: 27 journals)   [Sort by number of followers]

Showing 1 - 27 of 27 Journals sorted alphabetically
Brasiliana - J. for Brazilian Studies     Open Access   (Followers: 1)
Communication & Language at Work     Open Access   (Followers: 8)
Conjunctions. Transdisciplinary J. of Cultural Participation     Open Access   (Followers: 4)
DAIMI Report Series     Open Access  
Den Gamle By : Danmarks Købstadmuseum (Årbog)     Open Access  
Globe : A J. of Language, Culture and Communication     Open Access   (Followers: 3)
HERMES - J. of Language and Communication in Business     Open Access   (Followers: 1, SJR: 0.66, CiteScore: 1)
J. of Organizational Knowledge Communication     Open Access   (Followers: 5)
K&K : Kultur og Klasse     Open Access   (Followers: 3)
Klart språk i Norden     Open Access  
Language at Work - Bridging Theory and Practice     Open Access   (Followers: 1)
Mathematica Scandinavica     Open Access   (Followers: 1, SJR: 0.442, CiteScore: 0)
NyS, Nydanske Sprogstudier     Open Access   (Followers: 1, SJR: 0.137, CiteScore: 0)
OJS på dansk     Open Access   (Followers: 2)
Outlines. Critical Practice Studies     Open Access   (Followers: 1)
Peripeti     Open Access   (Followers: 2)
Proceedings of Pragmatic Constructivism     Open Access   (Followers: 1)
Proceedings of the Danish Institute at Athens     Open Access   (Followers: 2)
Psyke & Logos     Open Access   (Followers: 3)
Religionsvidenskabeligt Tidsskrift     Open Access   (Followers: 4, SJR: 0.101, CiteScore: 0)
Slagmark - Tidsskrift for idéhistorie     Open Access   (Followers: 4)
SoundEffects - An Interdisciplinary J. of Sound and Sound Experience     Open Access   (Followers: 2)
Sprog i Norden     Open Access  
Technical Report Civil and Architectural Engineering     Open Access   (Followers: 1)
Technical Report Electronics and Computer Engineering     Open Access  
Technical Reports Mechanical Engineering     Open Access   (Followers: 4)
temp - tidsskrift for historie     Full-text available via subscription  
Journal Cover
K&K : Kultur og Klasse
Number of Followers: 3  

  This is an Open Access Journal Open Access journal
ISSN (Print) 0905-6998
Published by Aarhus Universitet Homepage  [27 journals]
  • Forord - Toposlærens aktualitet

    • Authors: Christian Dahl, Knut Ove Eliassen, Michael Høxbro Andersen
      Pages: 1 - 12
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Historisk topik

    • Authors: Ernst Robert Curtius
      Pages: 13 - 22
      Abstract: I det følgende vil vi beskæftige os med poesiens retoriske temaer. Dermed mener jeg ikke poesiens genstandsområde (fx krigshandlinger, fyrstelovprisning, sædelære, natur- og kunstbeskrivelse, hyrdeliv, kærlighed) og heller ikke mytiske, historiske eller religiøse motiver (Troja, Alexander, visioner om det hinsidige). Snarere handler det om de retoriske skemaer fra antikken, som kaldes topoi eller loci eller loci communes, det som man i en nedsættende undertone gengiver som Gemeinplätze [klichéer] på tysk. På ældre tysk siger man mere rigtigt: Gemeinort [almensted]. Hver plads er et sted, men ikke hvert sted er en plads! Men hvad er et ”retorisk sted”' Hvordan skal man forstå denne metafor' Det skal man fra den antikke retoriks historie.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Topos og motiv. Et forskningshistorisk rids

    • Authors: Christian Dahl
      Pages: 23 - 36
      Abstract: The aim of this article is to clarify how literary topology relates historically and conceptually to the study of literary motifs. Topos and motif are associated concepts in literary theory, but attempts to define and compare them are evasive and few. While literary topology was, according to Ernst Robert Curtius, founded on the basis of classical rhetoric and concerned primarily the literary tradition of rhetorical eloquence, the notion of motif was, as I will argue, on the contrary conceived as a critical term at a time when rhetoric was loosing its grip on literary criticism at the end of the 18th century. My article will survey a number of influential positions in the history of literary theory and criticism concerning the study of motifs and topoi from Goethe to contemporary contextualist approaches.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Fra normativ til historisk topos-forskning

    • Authors: Carsten Meiner, Frederik Tygstrup
      Pages: 37 - 54
      Abstract: On the basis of Ernst Robert Curtius’ topology, Mikhail Bachtine’s theory of the chronotope, and Erich Auerbach’s analysis of “la cour et la ville”, this article envisions literary topology as the study of symbolic places in literary history.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Topologisk poetik i Viktor Šklovskijs Prosateorien

    • Authors: Sofie Kluge
      Pages: 55 - 68
      Abstract: Though not explicitly addressed as such, the literary topos plays a crucial role in Russian literary theorist Victor Shklovsky’s Theory of Prose (1925). On the backdrop of a critical discussion of the ‘symbolist’ conception of literature and of the ‘ethnographical school’s’ exploration of literary motifs, Shklovsky here presents what can be understood as a genuine topological poetics: A poetics bent on the ‘formulaic’ as quintessential literary device. Rather than a figuration of the author’s ideas literary images are, according to Shklovsky, conventional formulas that circulate in language. Rather than collective commemorations of original customs literary motifs exhibit literature’s revitalization of ‘automatized’ language. Thus redefined as topoi in this most basic sense – as commonplaces or repetitions of existing forms – literary images and motifs become key to understanding ‘literariness’ itself as a redeeming ‘estrangement’ of dead language forms and to conceptualizing literary history as a chain of successive estrangements. Qualifying the topos as self-referential, estranging device, Theory of Prose thus presents an original if also thought-provoking contribution to topology. However, it ultimately rest on a today questionable literary philosophical premise: The idea of literature as a privileged discursive space where the lost ideality of the life-world is recreated.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Motivet der blev væk for litteraturteorien

    • Authors: Nils Gunder Hansen
      Pages: 69 - 86
      Abstract: The article argues that classical concepts in literary theory such as “motif” and “theme” have been undertheorized in recent decades. They have been taken for granted as “ordinary language”-vocabulary in no need of conceptual clarification. But the dimension of content in a literary text cannot be sufficiently theorized without precise definitions of “motif” and “theme”. The article claims that the theme is always an abstract concept, an idea, extrapolated from the text by its interpreter, whereas the motif presents itself in the text as an observable constellation between mimetic elements from the human life world that can be traced with variations through multiple texts or other fictional modes. The motif can be more or less specified and will always be located somewhere on a continuum between the abstract theme and the individual text. The article then tries to enrich this understanding of the motif by confronting it with the textual theories of Paul Ricoeur and James Phelan. It is furthermore discussed whether the critique of ideology in the Marxist years played a role in the marginalization of the motif. The relevance of the reconstructed concept is finally demonstrated in an outline of an analytical approach to three novels (The “Hvium”-trilogy) by the Danish author Ida Jessen and it is concluded that this type of approach enables observations that would have been less obvious entering the textual universes on higher or lower levels than the motif being always in between the theme and the text.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Motiv og kontekst

    • Authors: Jens Lohfert Jørgensen
      Pages: 87 - 108
      Abstract: This article deals with the properties and functions of the literary motif in relation to the text’s context. One tendency in present-day literary historiography is a growing scepticism towards contextualism. It takes its point of departure in a wish, on the critic’s part, to engage more actively with the text than a focus on its contexts allows. In the first part of the article, I present two concrete instances of this scepticism. In opposition to it, I defend contextualism – in the specific form of a historiographical practice that is able not only to make literary works more comprehensible to us, but also to make them more strange. I discuss Quentin Skinner’s formulation of this idea in the article’s second part. The article’s main thesis is that is by focusing on motifs, rather than themes, that we can verbalize the historical strangeness of literature. In the third part of the article, I discuss the motif’s ability to relate to the text’s context, drawing on the work done of Jesper Gulddal, Ernst Robert Curtius and Erich Auerbach. In the article’s fourth part, I relate my reflections on the relation between motif and context to the motif of bacteria in Danish literature. In three short readings of texts by Johannes V. Jensen, Villy Sørensen and Bjørn Rasmussen, I demonstrate how a focus on the motif at the same time promotes a synchronic perspective on the texts’ relation to their contexts, and a diachronic perspective on their mutual similarities and differences.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Motivstudier. Kontinuitet og fornyelse i ornamentale hybridformer fra
           antikken til ca. 1600

    • Authors: Maria Fabricius Hansen
      Pages: 109 - 134
      Abstract: Representations of hybrids of human figures, plants, and animals were prolific in all media in sixteenth-century Italian art. The motif is known back from Greek and Roman antiquity, both in poetry and visual art, which the artists of the sixteenth century – or the renaissance – claimed to revive. Yet the representations of hybrids from these two periods within the history of art differ remarkably. And at the same time they belong to an iconographic tradition that did not disappear in the medieval period, an observation which blurs the picture of these ornaments as rediscovered and revived in the renaissance.
      How then do motifs such as foliate heads or other phyto- or zoomorph creatures develop in visual art from antiquity to ca. 1600'
      The topological method can be applied to a tracking of these motifs over time in order to stress continuity and analyze the transformations which took place through the centuries.
      This article reflects on some methodological and historiographical aspects of studies of motifs in art history. In a double-sided strategy it both aims at challenging the persistent notion of the renaissance as a period rejecting the middle ages and reviving antiquity (i.e. it stresses the continuity of the sixteenth century with the preceding centuries); and it suggest some characteristics of the visual paradigm of sixteenth-century Italian art (i.e. it describes some of the innovations of the period).
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Unio mystica. Skabelse af en topos

    • Authors: Rigmor Kappel Schmidt
      Pages: 135 - 150
      Abstract: The secular carpe diem and the religious unio mystica are historically very active in the Renaissance and the Baroque. Both form important steps in the development towards a secularized culture, abandoning the idea of eternal life with the carpe diem, and giving up the ecclesiastical hierarchy in favour of direct contact to God in the unio mystica, cf. Rudolf Otto.
      The topos unio mystica is restructured and secularized in the “Aleph” by the Argentinian author Jorge Luis Borges introducing the complex figure of the repeated visual verb ver combined with a synedochical selection among the entirety of the vision. The complex figure reoccurs in Hundred Years of Solitude by Gabriel García Márquez, in the Black Book by the Orhan Pamuk, and without the figure in The War at the End of the World by Mario Vargas Llosa, each of them altering the topos according to their narrative needs.
      As stated in Ernst Robert Curtius, the topos can be seen as historically variant, and with Marie Lund Klujeff it is proposed that the figure as such can contribute actively in the creation and restructuring of the topos, thus not only being confined to the elocutio, but also contributing to the inventio.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Sjøreisen, det frie hav og endeløsheten. De maritime topois
           teknologihistorie

    • Authors: Knut Ove Eliassen
      Pages: 151 - 172
      Abstract: Early Romanticism established and developed a series of poetical maritime common places intended to convey the pure forceful and inhuman being of Nature. “Storm at Sea”, “The Endless Ocean” and “The monstrous deep” are but three of many topological variation of “The Ocean”, gaining widespread popularity in the 19th and the 20th centuries and gradually turning into cultural clichés. This article argues that the long history of maritime narratives contains a much richer and indeed both critical and instructive legacy of topological figures than the semantically rather limited legacy of Romantic poetry. Analyzing a wide range of examples spanning from Homer to Joseph Conrad by way of François Rabelais and Daniel Defoe, this article suggests that the topologies of maritime narratives are exemplary cases of what Mikhail M. Bakhtin called chrono-topes, that is, epistemologically and politically charged configuration of literary time-spaces. The ocean-spaces of the early modern sea narratives are explicitly informed by the technological and political realities of their times, thus yielding a rich material that reflects how our ways of experiencing the oceans cannot be separated from the protocols, tools and crafts that determines our interfaces with the world.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Afbrydelsens kronotopi i britisk litteratur, 1840-1870

    • Authors: Maria Damkjær
      Pages: 173 - 190
      Abstract: Bakhtin’s chronotope is not only a meeting between time and space, but often also a meeting between a number of contrasting temporalities. This article discusses the topos of domestic interruption, which lays bare the temporal politics of the nineteenth-century middle-class home. It was a commonplace in the nineteenth century that women’s time in the home was interruptible and porous. When Victorian writers described everyday interruptions, they showed the contrast between plot time and an underlying marginalised domestic time. In an analysis of Elizabeth Gaskell’s Wives and Daughters (1864-1866), combined with a new historicist reading of Victorian advice literature, this article argues that narrative marginalisation was paradoxically a viable strategy for showing an otherwise invisible temporality. In the background, peeping out whenever the plot interrupts, is an enduring and ongoing time, mediated by unnamed and underrepresented servants, that gives the middle-class home temporal depth and realism.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Kød, blod og ord. Om nadveren som litterært topos

    • Authors: Lilian Munk Rösing
      Pages: 191 - 212
      Abstract: The motif of the Eucharist seems, in different permutations, to persist in Western literature even in modern, secular times. This paper argues that the motif persists because it implies a discussion that is also central to literature: What is the relation between signifier and signified, vehicle and tenor – bread and body, wine and blood' Is it possible for the immaterial signified to become present in the materiality of the signifier' In his writings on the Eucharist Martin Luther insists that bread and wine do not represent the body and blood of Christ, they are his body and blood, because Christ has diffused into the world. The Eucharist implies the idea of the material presence of that which would in other cases be the absent signified of the signifier. This may be the reason why the Eucharist is a recurring metaphor in Marcel Proust, in his striving to make of his novel a cathedral where the reader receives the Eucharist wafer, like the madeleine cake that makes the past sensually present and possible to orally consume. The paper analyzes examples of the Eucharist motif from Proust, Paul Celan, Elfriede Jelinek, and the Danish contemporary author Bjørn Rasmussen, arguing the Eucharist to appear in texts that have a special interest in the way that the signified can or cannot be present in the material signifier, even when those texts are skeptical or critical towards the Christian discourse.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • I tvivlsomme kampe. Strejken og romanen, 1850-1950

    • Authors: Nicklas Freisleben Lund
      Pages: 213 - 232
      Abstract: Through the analyses of Émile Zola’s Germinal (1885) and Martin Andersen Nexø’s The Great Struggle (1909) the article investigates the strike as a topos in Western literature between 1850 and 1950. The article argues that the strike should be not considered a passive object; something that is merely being portrayed. Rather the strike has an active and formative function in the texts in which it appears, as it generates a distinct literary form – the Strike Novel – that among other things is characterized by a peculiar and ambivalent political outlook. An ambivalence emerging from the strike’s own characteristics as a practical form of political resistance linking the phenomenon closely to the question of how to act politically.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • En rejse med det infra-ordinære tog. Skitseringen af en samtidstopik
           i fransk samtidslitteratur

    • Authors: Tue Løkkegaard
      Pages: 233 - 252
      Abstract: This article examines how the study of topoi can be developed with regards to contemporary literature. Looking to French literature and its current interest in the everyday and our empirical places, the article discusses both how a literary topology can further an understanding of how and why these authors search for our everyday places, and how a contemporary topology necessarily needs to focus less on narrative itself and more on the articulation of place and experience. Acknowledging how the train becomes a recurrent topos in French literature, this article proposes a method that combines and rethinks a modern topology with an idea of place as a locus for an everyday social experience disturbing both empirical and literary convention.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Pan i Londons gader. Hvorfor genopstod en græsk naturgud for en kort
           periode i Storbritannien'

    • Authors: Freja Gyldenstrøm
      Pages: 253 - 268
      Abstract: This topological study aims to discover how the Greek god Pan came to emerge from the metaphorical graveyard of forgotten fantasies and into late Victorian fiction depicting contemporary scenes, and the reasons for his presence. The motif of ‘Pan versus humanity’ takes center stage and is followed through a series of representational texts from Arthur Machen’s The Great God Pan from 1894, over E. F. Bensons “The Man Who Went Too Far” from 1904 and Algernon Blackwood’s “The Touch of Pan” from 1917 to one of its final depictions in Stephen McKenna’s novel The Oldest God from 1926. It is shown that as Pan came to represent the repressed as both biological and historical past, the specific meaning ascribed to the meeting with the god changed in relation to cultural and historical developments. With the appearance and disappearance of Pan the rise and fall of shared modern fantasies are revealed. From a bigger perspective, the analysis is an example of the usefulness of the topological method in illuminating cultural history through the rising and waning popularity of literary configurations.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • Grøn topologi. Ei nylesing av Vergils hjul

    • Authors: Aslaug Nyrnes
      Pages: 269 - 290
      Abstract: Nature is a complex phenomenon; it is both a physical object and a variety of cultural imaginations and representations. The current climate crises challenge the relationship between nature and language in radically new ways. This article examines an example of what we can call the green topology, figures that are part of, and shape the climate course. Virgil's wheel is a topos from the Middle Age, traced back to the pastoral tradition of Virgil, presenting specific connections between literary style and topography. The question in this article is what perspective on nature is implicit in this thought figure. Do Virgil's wheel as a topos challenge the dominant view on nature from the Romantic period' Can we understand Vergil's wheel in opposition to an anthropocentric world-view' If so, does Vergil's wheel have ecocritic potential' The article draws on perspectives from ecocritical theory, rhetorical topological theory and Schiller's philosophy on nature and the sentimental.
      PubDate: 2017-08-28
      Issue No: Vol. 45, No. 123 (2017)
       
  • “It was a sweet view – sweet to the eye and the mind.” Jane
           Austen og det pittoreske landskab

    • Authors: Karin Esmann Knudsen
      Pages: 291 - 308
      Abstract: It is obvious in Jane Austen’s novels that she was interested in the ongoing debate of ’the picturesque garden’, and in all her novels the characters are discussing how to look at the landscape, how to ‘improve’ the estates according to certain rules, and how taste and moral are connected to each other. The picturesque garden is inspired by paintings from the 17th century by Claude Lorraine and Nicolas Poussin, and in that way a clear line can be drawn back to Theocritus and Virgil, who introduced topoi as ‘locus amoenus’ and the ‘pastoral’. This article is examining how the relation is between these topoi, which are ideal landscapes that only exist in literature and painting, and the discussions of the design of real physical landscapes of contemporary England. It is difficult to decide on which side Austen was in the discussions of the picturesque. The article concludes that Austen’s voice is to be heard in the narrative, the development of the characters, and that she ends up with an attempt to reach an authentic relationship with landscape and nature that foreshadows a romantic feeling of nature. An appendix shows the later reception of Austen’s relationship to landscape, by analyzing a scene from modern films based on Jane Austen’s novels.
      PubDate: 2017-08-29
      Issue No: Vol. 45, No. 123 (2017)
       
 
 
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