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Strung up and whipped two

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Skip to Strung up and whipped two content. Log In Sign Up. Reviewers of Sundman's first novels, Undersökningen and Skyttencontinued to comment on the similarities they perceived with the saga heritage. An additional and important influence is novelist and essayist Frans G.

Bengtsson, who championed the portrayal of character and psychology from the depiction of external signs. Bengtsson, significantly, praised the sagas for their method of characterization, and stressed the value of describing a myriad of genuine-seeming details for the creation of verisimilitude.

In such highly-regarded later novels as Expeditionen and Ingenjör Andrées luftfärdas well as in a number of the short stories in SökarnaSundman discovered his own voice. Building on what he learnt from the sagas, but going beyond it, he developed his own idiosyncratic style, characterized in particular by the effective use of repetition and extensive interweaving for effect and as a structuring device.

A close examination of the similarities and differences between the original saga and the novel is followed by a consideration of the extent to which Sundman endeavoured to emulate saga style and method in this work.

My conclusion is that he consciously adopted many of the features of the sagas in Berättelsen om Såm; but in reverting to the third person point of view of the sagas, and in choosing to adopt many of their narrative features Strung up and whipped two an unhappy mixture with some of the elements of the psychological novel he had earlier eschewed, Sundman denied himself many of the features that made the works of his middle period so effective.

Paradoxically, therefore, in returning to his wellspring in the sagas Sundman was betraying his own distinctive voice. What Strung up and whipped two are made into is more important than what they are made out of. Ruthven, Critical Assump- tions Cambridge: Cambridge Univer- sity Press,p. A number of individuals and organizations have helped to make the work on this one less lonely and less long. I would like to thank the late Dr Lenore Harty for introducing me to the study of Old Norse, and for supervising the early stages of work on the thesis; Dr Bill Dean for encouraging me in my choice of topic; Professor Alistair Fox for help with method- ological matters; and Dr Greg Waite for help with supervision.

Johansson, Kristinn Jóhannesson and others in the Saga Group in Göteborg for stimulating discussion of saga matters.

For their part in mediating the chain of contacts which led to my year in Göteborg, I thank Lennart Waara, who also introduced me to Scandinavian Studies at the University of Auckland in the seventies, and Professor Hans Kuhn of the Australian National University. For the funding to publish the thesis, my thanks go to Humanistisk-Samhälls- vetenskapliga Forskningsrådet. My two largest debts are to Dr Chris Ackerley, for taking on the major part of the supervision of the thesis, as well as for providing general and much-appreciated encouragement during the course of it, and to the late Per Olof Sundmanwho graciously assented to an interview while I was in Sweden, and answered other questions Strung up and whipped two telephone and letter.

Warme in an article in Scandinavian Studies inan in-depth study of the influence of Snorri Sturluson Strung up and whipped two other Icelandic saga authors has not before been done. Since this influence was largely admitted, or even claimed, by Sundman himself, and noted by many of the critics writing on him, I wished to investigate it in detail, to study the way in which it manifested itself in his writing, and to identify the aspects of saga style and narrative method that Sundman adopted.

That my conclusion was to prove somewhat different from the received wisdom as to the type of similarities and the extent of the influence from the sagas on his works will emerge from the rest of the thesis.

Writer of the North Westport, Conn.: It also briefly points to the possible influence of Frans G. There are only two other book-length works devoted to Per Olof Sundman: Fact, Fiction or Fraud? In this thesis I have opted to quote the sagas in the translations with which Sundman Strung up and whipped two most familiar.

It is likely, too, that these were the forms in which many of the critics who found similarities of style between Sundman and the sagas had encountered them. The aspects commented upon are generally not linguistic, and often not stylistic; I have endeavoured to check whether the point made is translation-specific — the Scandinavian languages are so related that often a point made about the translated version still applies to the original Icelandic.

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Those who are able to read the sagas in the original should be able to locate the relevant passage from the chapter references given wherever possible the chapter references are to the Íslenzk fornrit edition. The translations from the Scandinavian languages are my own, and are there to give the gist of the original quotations; the argument developed in my thesis refers to the quotations in their original form.

What policy to adopt when converting Icelandic proper names into a form appropriate to an English text is a perennial problem.

I have of course retained the Swedish and Norwegian spellings in quotations from those languages, but have generally employed the Icelandic nominative form in English, though without the final double consonant in such well-known names as Egil, Hrafnkel and Gunnar. Choice of Narrative Method Narrative Stance and Voice Indirection and Lack of Connectives Features of Oral Narrative Use of Literary Devices Background to the Novel Differences between the Novel and the Saga Saga Elements in the Novel Concluding Remarks — Saga Style and Method Sundman, 15 October Title page Cover of Kongesagaer, illustration by Erik Werenskiold Illustration by Erik Werenskiold.

Gyldendal, ; reprinted See Section Four Strung up and whipped two Chapter Two for passages from Undersökningen and Skytten which describe this and similar settings. Illustration by Gustave Doré to an edition of S. References in Ingenjör Andrées luftfärd to Doré and his ice landscapes are discussed on p.

Herƒubreiƒ m in northeastern Iceland, alluded to in a landscape passage in Berättelsen om Såm pp. The answers to these questions will lead to an understanding of how Sundman came to see the saga heritage as a solution to the problems he experienced in his early attempts as a writer in finding a literary language which worked for him.

Bengtsson fascinated me — a luxuriant imagination, sly playfulness, immense knowledge, and a coolly intelligent literary method]. Sundman and the Saga Tradition interest in Snorri Sturluson, the Icelandic author of Heimskringla, sagas of the Norwegian kings from earliest times through to Det finns en författare som jag i ett sådant här sammanhang har svårt att lämna onämnd.

Jag syftar på Snorre. Jag känner honom främst genom Gyldendals utgåva Strung up and whipped two av hans kungasagor. Det rör sig om grenar på samma träd eller något i Strung up and whipped two vägen. Begynnelsevis fångades jag kanske mest av hans sagors romantiska stoff. Sedan upptäckte jag andra kvaliteter. Snorre berättar utan att låta sig ryckas med av sin berättelse.

Han håller sig på avstånd från människor och händelser.

Han förklarar inte, lägger ingenting tillrätta. Hans berättelse är naken. Snorre tvingar lyssnaren att själv närma sig männen eller kvinnorna eller skeendena, att överväga, att pröva sinnen och hjärtan och njurar — eller att gäspande övergå till att syssla med något annat.

I am referring to Snorri. A Swede who reads an Icelander in Norwegian — that is quite in order.

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It is a matter of branches of the same tree or something along those lines. Initially perhaps I was mostly captivated by the romantic material in his sagas. Later I discovered other qualities. Snorri narrates without letting himself be carried away by his narrative. He keeps himself detached from people and events.

His narrative is naked. Snorri forces the listener to approach the men or the women or the events himself, to weigh them up, to test his senses and heart and kidneys — or, yawning, to go over to doing is the author of Röde Orm [translated as The Long Ships] Stockholm: Norstedts, a rollicking reconstruction of Viking times.

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He also published a number of volumes of "Strung up and whipped two" literate and witty essays, among the finest in the Swedish language. This translation of Heimskringla was first published inand has been frequently republished under the title Kongesagaer from The sagas up to and including Óláfs saga helga are translated by Anne Holtsmark, and the remainder by Didrik Arup Seip. Sundman and the Saga Tradition something else.

Det vore förmodligen galet att påstå att Snorre Sturlasson påverkat mitt författarskap. Det är förmodligen rimligt att antaga han ändå haft sin betydelse.

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