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  • 1.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    At få tungen på gled: Pia Juul og novellegenren2014In: Litteraturmagasinet Standard, ISSN 0903-1928, no 1Article in journal (Other (popular science, discussion, etc.))
  • 2.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Brontë gjorde kvindeligt navlepilleri muligt2015In: Dagbladet InformationArticle in journal (Other (popular science, discussion, etc.))
  • 3.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Den kulturelle skam overvundet med humor2015In: Dagbladet InformationArticle in journal (Other (popular science, discussion, etc.))
  • 4.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    En kvantefysiker går til kamp mod verdens undergang: Anmeldelse af Peter Høeg, Effekten af Susan2014In: Kritik, ISSN 0454-5354, no 211, p. 197-183Article, book review (Other (popular science, discussion, etc.))
  • 5.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Gertrude Steins portrætter2012 (ed. 1)Book (Other academic)
    Abstract [da]

    Gertrude Steins portrætter går bag om portrætterne i Gertrude Steins forfatterskab og dykker ned i nærlæsningen af fem portrætter. Ud fra analyserne kombineret med et udblik på Steins øvrige værk og poetik opstilles en samlet optik på Gertrude Steins meget personlige version af det litterære portræt.

    Det har taget mange år før Stein-receptionen er nået frem til at tage portrætterne alvorligt som portrætter. Ved første læsning er det heller ikke altid let at genkende den portrætterede i teksten. Gertrude Stein bevæger sig i sine portrætter fjernt fra de genreforventninger, som fordrer genkendelighed via traditionel beskrivelse og biografisk information. Gertrude Steins portrætter demonstrerer hvordan portrætternes tætte tilknytning til deres motivpersoner etableres gennem en række vidt forskellige greb. For selvom portrætterne er så forskellige i stil og udformning, som tænkes kan, så er de fælles om en bestræbelse på at bruge sproget til at skabe et møde med et andet menneske i et absolut nu, som ikke er tynget af erindring og historie.

    Stein trækker portrætgenren fri af dens tilknytning til biografi og historieskrivning, men ikke på bekostning af interessen for det andet menneske. Tværtimod er Steins portrætter forsøg på at skabe et dialogisk rum i teksten, hvor et levende møde med noget helt nyt kan finde sted.

  • 6.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Grocery Shopping With Gertrude Stein: About Harryette Mullen’s S*PeRM**K*T.2013In: MSA 15: ”Everydayness and the Event”, University of Sussex, Brighton, August 29 - September 1, 2013, 2013Conference paper (Other academic)
    Abstract [en]

    The section ”FOOD” from Gertrude Stein’s Tender Buttons (1914) opens with what appears to be an approximate table of content, but most of all resembles an eccentric shopping list.  Solveig Daugaard’s paper will explore how contemporary American poet Harryette Mullen in S*PeRMK*T (1992) decided to bring Stein’s shopping list to her contemporary supermarket. Mullen is starting from Stein by picking up Stein’s zoom on the objects of a quotidian, feminine, domestic life. She also adopts a number of concrete linguistic elements from Stein, from actual quoting to miming Stein’s paratactical sentences. In merging these parts with disparate elements from popular culture as well as the language of advertising, Mullen creates a witty collage exploring the everyday realm of foodstuffs in a different cultural context. Where Stein’s poetical innovations opened a new sensibility, connecting everyday things to play and erotic experience, Mullen is exploring cultural inscriptions on food and eating in late capitalist society regarding gender, sexuality and colour, critically highligting the identity politics of the supermarket context.

  • 7.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Hvad stiller vi op med alfabeter og fødselsdage2015In: Tania Tender Thyme: Festsskrift til Tania Ørum / [ed] Elisabeth Friis, Lene Koch, København: Forlaget Arena , 2015, 1, p. 55-68Chapter in book (Other academic)
  • 8.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    'I'm always wanting to collaborate with some one': the performative poetics of Gertrude Stein and its reception as collaboration2016In: Performativity in literature.: the Lund-Nanjing Seminars / [ed] Eva Hættner Aurelius, Jon Helgason, He Chengzou, Stockholm: Kungl. Vitterhets Historie och Antikvitets Akademien, 2016, p. 231-246Chapter in book (Other academic)
  • 9.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    “It might be a portrait but in any case it is for you”: - Gertrude Stein’s literary portrait as a dialogic genre2013In: TRANS- Revue de littérature générale et comparée, E-ISSN 1778-3887, no 15Article in journal (Refereed)
    Abstract [en]

    “It might be a portrait but in any case it is for you” focuses on the dialogic aspects of the literary portrait genre practised by American avant-garde writer Gertrude Stein. The article presents a short comparative analysis of Stein’s portraits Matisse and Picasso both written in 1911. It focuses on the use of grammatical as well as rhythmic instruments in the invocation of their subjects. The article takes into consideration the biographical context of Stein’s artistic salon, which was frequented by both subjects, as well as the particular circumstances regarding the distribution of Stein’s early work in this context. We connect the genre to the oral genre of gossip. Finally it is argued that the portrait occupies a key position in Stein’s general poetics, as her work with the literary portrait is crucial for the development of her dialogical concept of genius.

  • 10.
    Daugaard, Solveig
    Linköping University.
    Krukkens efterfølgere2014In: Dagbladet InformationArticle in journal (Other (popular science, discussion, etc.))
  • 11.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    ”Machine for making a scene”,2015In: ’The book to come’, Norlit conference, Göteborgs Universitet, august 2015, 2015Conference paper (Other academic)
    Abstract [en]

    Solveig Daugaard’s paper will deal with literary collaborations across space-time. In the experimental collage essay A Prank of Georges (2011) Thalia Field and Abigail Lang reenter Gertrude Stein’s work in a collaborative spirit, cutting from the oeuvre they are exploiting the mobility of Stein’s linguistic material in creating performative machines that are setting in motion a host of social, philosophical, and scientific contexts. The movement from the medium of the book to the medium of performance will be explored. The relation between page and stage is in constant focus in A prank of Georges. Stein also had it in mind when she started writing plays – I see this move of hers as a challenge to the medium of the book – as an insisting upon corporeal aspects of textuality – new experience upon every reading.

  • 12. Daugaard, Solveig
    ”Måske er det et portræt men det er i hvert fald til dig": Gertrude Steins litterære portrætter som dialogisk genre2010In: Den blå port, ISSN 0900-8160, no 85, p. 49-60Article in journal (Other academic)
  • 13.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Noter og efterord2012In: Portrætter af enhver: Dansk oversættelse af et udvalg af Gertrude Stein's portrætter / [ed] Solveig Daugaard, Tania Ørum, Laura Luise Schultz, København: Forlaget Arena , 2012, 1Chapter in book (Other (popular science, discussion, etc.))
  • 14.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Også James Joyce måtte sno sig for at få sine værker trykt2016In: Dagbladet InformationArticle in journal (Other (popular science, discussion, etc.))
  • 15.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Recension av Nils Olsson: Konsten att sätta texter i verket. Gertrude Stein, Arne Sand och litteraturens (o)befintliga specificitet2013In: TfL – Tidskrift för litteraturvetenskap, ISSN 1104-0556, no 2, p. 115-120Article, book review (Other academic)
  • 16.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    ”The Autonomy of Gertrude Stein”2016In: Ingen proceeding. Konferencen: ’Presumed Autonomy’, Stockholms Universitet, 10.-13. maj 2016, 2016Conference paper (Other academic)
    Abstract [en]

    “I am always wanting to collaborate with someone,” wrote Gertrude Stein in Everybody’s Autobiography, and even if she never did become a great collaborator in her own time, there are important reasons for taking this claim of hers seriously.

     

    The collaborative impulse in Gertrude Stein’s written works is grounded in the many ways in which the interface of reading and writing (Lori Emerson, 2014) is kept open in her work – making all reading of her work a relational process – often taking the form of rewriting, restaging, recycling or remediation as is witnessed by the multiple artistic recyclings and remediations of Stein’s work that has appeared from 1950s until today. As has been shown by Barbara Will, the relational impulse in Stein’s poetics not only shakes the presumed autonomy of her writing, but also shakes the autonomy implied in the figure of the modernist genius, that Stein made strong claims upon (Will, 2000).

     

    When in 1933, at the age of 59, Gertrude Stein wrote her best seller, The Autobiography of Alice B. Toklas, she suddenly entered the scene of the rising modern celebrity cult, touring the US, lecturing, speaking on the radio and talking to newspapers, magazines and people all over the country.

     

    She thus became renown for her character, appearance and cultural performance, and perhaps less for her writing. Yet the experimental writing remains the essential quality of this public persona. It remains a sine qua non for Stein’s fame. Stein’s public persona was constituted through her “popular” writings in interaction with her more experimental ones as the later work appropriates, contextualizes and restages the earlier and invites readers to revisit it. But as Gertrude Stein became a literary star her public persona also became an integrated part of her work, and highly commodified, a fact she experienced at high personal costs.

     

    What I would like to zoom in on in this paper is not foremost how Stein’s poetry has been recycled in avant-garde art and high culture, but how a more popular dimension of Stein’s appropriation in contemporary culture has developed.

     

    Artists such as Andy Warhol and Marcel Duchamp are renown for recycling their own persona and reversioning themselves in their art. The persona of Gertrude Stein is being subjected to a similar reversioning after her death. Thus, the early American avant-garde theatrical reception of Stein (i.e. The Judson Poets Theatre, The Living Theatre) had the biographical persona of Stein incorporated into their work from the beginning, following from the way Stein’s persona was already crucial in the conception, staging and marketing of her first opera Four Saints In Three Acts. This course is continued today in a much broader appropriation of Stein’s poetry and oral catchphrases as well her photographic image and overall persona, creating a biographical kitsch cult around memorabilia and collector’s items, popular biographical representations in main stream theatre and film and cartoons – as well as an industry of pure Stein-commodities like mugs and buttons, paper dolls, stamps and tattoos etc.

     

    In this paper I want to ask what happens to our configurations of authorial autonomy when the author is being transformed into a commodity that is distributed into a range of cultural fields. Also, I wish to investigate how the presumed autonomy of Stein’s poetry responds when subjected to popular appropriation along with the Stein-persona and spread out into a diverse media ecological network (Fuller, 2005) that is transgressing beyond the strictly literary.

  • 17.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    What We Do with Alphabets and Birthdays: Naming and numbering as cultural techniques of homonization in Gertrude Stein’s ABC2016In: The Fifth International EAM conference (EAM:The European Network for Avant-Garde and Modernism Studies), University of Rennes 2, 1.- 4. juni 2016, 2016Conference paper (Other academic)
    Abstract [en]

    What We Do with Alphabets and Birthdays

    Naming and numbering as cultural techniques of homonization in Gertrude Stein’s ABC

     

    In accordance with standard generic expectations of the children’s ABC Gertrude Stein’s To Do. A Book of Alphabets and Birthdays (1941) consists of a story for each letter of the alphabet featuring four characters with names starting with the relevant letter. However, special attention is paid to the different roles of the eye and the ear in reading and rhyme, puns, homonyms and the sonorous ambiguity of letters and words are continuously undermining the alphabetic structuration of Stein’s ABC, with the consequence of fundamentally shaking the stability of the proper name. Even worse it seems to become, when the well known practice of numeric identification – the birthday – is introduced and this seemingly neutral, temporal marker of identity becomes highly disputable, for instance when characters start to fight over their birthdays. The consequences of such alpha-numeric ambiguities often prove surprisingly violent to the characters of the book that frequently drown, burn up or vaporize when their names, letters and birthdays are being challenged. At other points in the stories, however, these challenges create Deleuzian lines of flight, that allow characters to take off from spatial confinement and anchoring.

     

    I want to suggest that Stein in her ABC is investigating the alphanumerical structuration of our communication, that is, our use of letters and numbers. As German media theorist Berhard Siegert has put it “the basic operation of those cultural techniques responsible for processing the distinction between nature and culture, or barbarism and civilization, is a filtering operation.” To Do is about this filtering operation, the name and the birthday are markers that filter the figures off from their surroundings and from chaos and in turn act as cultural techniques of hominization, or anthropotechnics, as they tie disparate objects together into practices that in turn “produce something that within a given culture is addressed ‘a person.’” (Siegert 2015). But To Do is also a book that lingers where ever this filtering operation becomes threatened, disturbed, interrupted – and in this way it stresses the channel, the materiality, the phatic element in all communication.

     

    In German media theory ‘cultural technique’ as a concept has been fronted in recent years at the cost of a more static material concept of medium, in order to address the materiality of artistic and cultural practices in a more dynamic way. A general characteristic of cultural techniques like “reading, writing, painting, counting or making music” are that they are practices that exist prior to the structuration and theorization that is represented by for instance notational systems such as the alphabet. “People wrote long before they conceptualized writing or alphabets.” (Macho 2004) By allowing us to think for instance of reading independent of the alphabet Macho’s definition takes hold of the intermingling in any cultural technique of the aspects of investigation and quest. The article will also develop the general affinity between this dynamic approach to the material aspects of writing and Stein’s oeuvre, that is reinforced by her complicated publication history and reception where only few ‘books as artifacts’ are available. In stead Stein’s works are open and processual documents, that deliberately disturb the borders between seeing and hearing, forcing the reader to do both at the same time, or fluctuate between them, and as media poetic objects they challenge the frontier between interfaces of reading and writing (Emerson 2008).

     

    In To Do, it is clear that the fundamental processes of homonization actualized are not the seamless or neutral practices assumed in didactic literature as well as academic writing. In stead, Stein is underlining the violent and disciplining aspects that are inherent in our conceptualization of these practices, when the investigation of seemingly rational cultural techniques such as reading and counting turns into an irrational quest led by omens, superstition and arbitrary violence. Yet, she is also attentive to the freedom inherent in this inessential technological conception of man as lines of flight are introduced. Especially interesting is the way it is played out in the final story of Z, where Zero appears as a character, suggesting the infinite potential in numeric notation when the spatial aspect of place-value systems introduces a topological economy of signs (Vismann 2008 , Siegert 2015).

  • 18.
    Daugaard, Solveig
    Linköping University, Department of Culture and Communication, Language and Culture. Linköping University, Faculty of Arts and Sciences.
    Åh, Instagram: Anmeldelse af Mads Eslund imnothererepresentinghardbodies2016In: Dagbladet InformationArticle, book review (Other (popular science, discussion, etc.))
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