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Bengtsson, S. (2018). Dichtung und Wahrheit als ”Andenken verlorner und verschollener Wagnisse”: Ein Blick auf Goethes Werk aus ursprünglicher Perspektive. Hannover: Wehrhahn Verlag
Open this publication in new window or tab >>Dichtung und Wahrheit als ”Andenken verlorner und verschollener Wagnisse”: Ein Blick auf Goethes Werk aus ursprünglicher Perspektive
2018 (German)Book (Refereed)
Place, publisher, year, edition, pages
Hannover: Wehrhahn Verlag, 2018
Keywords
Goethe, Herder, Dichtung und Wahrheit, Zwo wichtige bisher unerörterte Biblische Fragen
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-332487 (URN)
Note

Im Erscheinen / Forthcoming

Available from: 2017-10-28 Created: 2017-10-28 Last updated: 2017-11-01
Bengtsson, S. (2017). Brev från en vän jag kallar ”min Roußeau”: En typografisk läsning av tre tidiga fragment av Thomas Thorild. In: Jennie Nell & Alfred Sjödin (Ed.), Kritik och beundran: Jean-Jacques Rousseau och Sverige 1750-1850 (pp. 222-267). Lund: Ellerströms förlag
Open this publication in new window or tab >>Brev från en vän jag kallar ”min Roußeau”: En typografisk läsning av tre tidiga fragment av Thomas Thorild
2017 (Swedish)In: Kritik och beundran: Jean-Jacques Rousseau och Sverige 1750-1850 / [ed] Jennie Nell & Alfred Sjödin, Lund: Ellerströms förlag, 2017, p. 222-267Chapter in book (Refereed)
Abstract [en]

Letters from a friend I call ”my Roußeau. A typographical reading of three early fragments of Thomas Thorild

In 1780s the Swedish poet and philosopher Thomas Thorild (1759-1808) anonymously published three ”fragments” in two different newspapers: ”Fragment”, ”Fragment of a letter” and ”Yet another fragment, stolen from a letter from one of my friends”. Although they were published separately, the three fragments evidently belong together as regards both content and form. A note appended to the second poem, signed by the anonymous ”sender” (Thorild) points out a friend called ”my Roußeau” as the author of these letter fragments, who we know is identical with Thorild’s close friend Anders Hylander (1750-1830), reader in Oriental languages. But the fragments name a certain Arist as recipient of the letters, and we know that this was Thorild’s pseudonym for Hylander, so this reverses the relationship, making Thorild the author called ”my Roußeau” and Hylander the publisher. This distinction between publisher and author is significant because the fictitious framework and the frequent occurrence of ellipsis dashes give the impression that the fragments are compilations of short fragments from different letters, which gives the publisher a highly active role. The letters can thus be said to have been written by a ”Rousseau”, but returned by a publisher to this ”Rousseau” after much revision.

The first fragment is a memoir of a young woman’s natural and unpretentious  virtue and beauty, in contrast to the paragons of decency and the vanity of fashion surrounding her. The second fragment is a panegyric to the beauty of nature as a techer of virtue, and the third fragment returns in thought to the woman in the first fragment and the memory of a present he had received from her containing the gifts of nature. The emotional tone, the praise of nature, simplicity, innocence, and virtue indicates that Rousseau’s epistolary novel Julie, ou la nouvelle Héloïse (1761) was a source of inspiration.

Certain written references by Thorild to Julie, intended for two of their mutual friends, one for Johan Lundblad (1750-1820) and the other for Sven Erland Heurlin (1758-1827), provide a supplementary framework to the fragments. A reference that is common to both leads us to the 12th letter in Part I, where Rousseau discusses the art of reading: the value of ”reflecting” on what one has read, how important it is ”to talk over the subjects on which we have been reading”, to proceed ”by exercising our sight as well as feeling”, that taste is ”the microscope of judgement” which ”brings small objects within reach”. Another letter leads to a letter in Part 2 written ny Saint-Preux to Julie, entitled ”Fragments”, three fragments showing some general similarities in content to Thorild’s fragments, but above all sharing not only the title but also the frequent use of suspension dots (points de suspension).The two references seem to suggest that the dots are the kind of ”small object” that are worth talking over, reflecting on, and allowing ”the microscope of judgement” to bring ”within reach” of ”taste”.

A closer study shows that Thorild’s equally conspicuous use of ellipsis dashes in his fragments also points in a different direction, namely, to Johann Gottfried Herder’s (1744-1803) use of dashes and other typographical markers to indicate a particular dialectical reading intended to represent the figurative form of writing and thinking that he belived the biblical creation story was based on. This use of dashes occurs already in Herder’s debut work, Fragmente (1767). Here he has assembled fragments from a recently discontinued periodical called Briefe (Letters) (1759-1765), compiled in three collections which he presented as an appendix to the extint periodical. Herder took fragmens from these letters, but reworked them so that they fit together in the collections as parts belonging to a common whole, as if the three collections were merely larger fragments of the same whole. herder’s dashes mark fragments that function as components in a visual organization of the language material which serves as an alternative to customary punctuation with its arrangement of the elements in a discursive logic. In this way a pictorial dimension is incorporated in the reading which is comparable to the visual presence of the body in the speech situation. This expanded manner of using punctuation unknowingly responds to a wish expressed by Rousseau in his Essai sur l’origine de langues (1754, but published only posthumously in 1781), where he discusses whether punctuation could be used more efficiently in written language to mark the kind of emphasis that can be heard and seen in spoken language.

In Rousseau’s ”Fragments” the suspension dots are used to imitate the interrupted speech of a person so overwhelmed with emotion as to be unable to find words for everything. They represent the feelings that are on display in such a speaker’s body, accompanying the discursivity of spoken words. Written words cannot be accompanied by any similar display, but the suspension dots remind the reader of this visual dimension of embodied speech, who can now imagine and add this form of expressiveness to the text. Herder’s fragments function instead as clauses in a dialectical reading which enables a reorganization of a sequence of text into the simultaneity of a text image, which compete with the clauses that logical punctuation arranges in accordance with the discursivity of language. The essay compares Rousseau’s and Herder’s use of punctuation as a means to introduce a visual dimension in written text, and the applicability of the two techniques to Thorild’s fragments. 

Place, publisher, year, edition, pages
Lund: Ellerströms förlag, 2017
Keywords
Thomas Thorild, Fragment, Jean-Jacques Rousseau, Julie eller den nya Héloïse, Johann Gottfried Herder, Johann Wolfgang von Goethe, typografi, layout, tolkning, editionsfilologi
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-332468 (URN)978-91-7247-500-7 (ISBN)
Note

On page 245, the publisher has accidently cropped an illustration so that it displays only two suspension dots instead of three.

Available from: 2017-10-27 Created: 2017-10-27 Last updated: 2017-11-01Bibliographically approved
Bengtsson, S. (2017). The Material Being of Herder’s ’Versuch über das Sein’. In: John K. Noyes (Ed.), Herder’s Essay on Being: A Translation and Critical Approaches. Camden House
Open this publication in new window or tab >>The Material Being of Herder’s ’Versuch über das Sein’
2017 (English)In: Herder’s Essay on Being: A Translation and Critical Approaches / [ed] John K. Noyes, Camden House, 2017Chapter in book (Refereed)
Place, publisher, year, edition, pages
Camden House, 2017
Keywords
Herder, Kant, Versuch über das Sein, style of writing, materiality, non-linear
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-332480 (URN)
Note

Forthcoming

Available from: 2017-10-27 Created: 2017-10-27 Last updated: 2017-11-01
Bengtsson, S. (2016). Cultural Science and the Repertoire of Works: Herder’s Plastik as a Hands-on Experience. In: Beate Allert (Ed.), J. G. Herder: From Cognition to Cultural Science / Von der Erkenntnis zur Kulturwissenschaft: (pp. 397-446). Heidelberg: Synchron
Open this publication in new window or tab >>Cultural Science and the Repertoire of Works: Herder’s Plastik as a Hands-on Experience
2016 (English)In: J. G. Herder: From Cognition to Cultural Science / Von der Erkenntnis zur Kulturwissenschaft / [ed] Beate Allert, Heidelberg: Synchron , 2016, p. 397-446Chapter in book (Refereed)
Abstract [en]

Today’s cultural science is generated more by a critical outlook we have today (values we want to defend, interests we want to pursue) than something that develops by an emphatetic reading of a repertoire of works, with less control over the outcome, but more open to surprising disclosures. Herder’s work Plastik (1778) includes at the back a list of 27 printing errors called ”Verbesserungen” (improvemnets) and was moreover delivered with seven cancel leaves (corrected leaves intended to replace the corresponding leaves in a book on account of their spelling or typing errors) that were to be pasted in by the bookbinder. We had formerly no report on what faults these cancels were actually correcting. An investigation gives a surprising result. The faults were very few (only one or two on each leaf), mostly insignificant, not more serious than the errors in the list of errata. Furthermore, the spelling of the words that the cancels correct are fluctuating in the text anyway. Finally, analysis shows that the cancels must have been printed on the same sheet as the list of the errata. Reflection on these seven cancels, how the book was made and a comparision with the surviving manuscript lead to the conclusion that the seven leaves together form like a booklet in the book, a summary that the reader has to fold with his/her own hands, and the corrected words stand out as keywords in this booklet. The seven leaves can be read according to the ”Schöpfungshieroglyphe” of Herder’s earlier work Aelteste Urkunde des Menschengeschlechts (1774). Ostensibly, the book is about the senses of touch and sight in relation to sculpture, but with the analysis of the cancels at hand we realize that it is just as much about the senses of touch and sight in relation to the book Plastik we are reading. If the ’faulty’ leaves (cancellata) have already been removed, and the ’corrected’ leaves (cancellantia) pasted in on the remaining stub, the reader must use his/her feeling finger to detect the booklet in question. References in Plastik suggest that Ueber die neuere Deutsche Litteratur (1767), Aelteste Urkunde des Menschengeschlechts, and Plastik were conceived as a prominent trio in Herder’s oeuvre suspended from the concepts of acoustics, optics, and anaglyphics. Cultural Science, in order to be true to its own premisses, needs to encompass a concept of reading that swings between critical and emphathetic reading.

Place, publisher, year, edition, pages
Heidelberg: Synchron, 2016
Keywords
Plastik: Einige Wahrnehmungen über Form und Gestalt aus Pygmalions bildendem Traume”, ”Sculpture: Some Observations on Shape and Form from Pygmalion’s Creative Dream”, cultural studies, hermeneutics, poetics, dialectics, philology, editorial science, aesthetics, layout, paratext, style of writing, non-linear, materiality
National Category
General Literature Studies
Identifiers
urn:nbn:se:uu:diva-282176 (URN)978-3-939381-89-1 (ISBN)
Available from: 2016-04-04 Created: 2016-04-04 Last updated: 2017-11-01Bibliographically approved
Bengtsson, S., Clairmont, H., Norton, R. E., Schmidt, J. & Wagner, U. (Eds.). (2016). Herder and Religion: Contributions from the 2010 Conference of the International Herder Society at the University of Notre Dame, South Bend, Indiana. Heidelberg: Synchron Wissenschaftsverlag der Autoren
Open this publication in new window or tab >>Herder and Religion: Contributions from the 2010 Conference of the International Herder Society at the University of Notre Dame, South Bend, Indiana
Show others...
2016 (English)Collection (editor) (Refereed)
Place, publisher, year, edition, pages
Heidelberg: Synchron Wissenschaftsverlag der Autoren, 2016. p. 260
Keywords
Johann Gottfried Herder, religion
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-332449 (URN)978-3-939381-88-4 (ISBN)
Available from: 2017-10-27 Created: 2017-10-27 Last updated: 2017-11-01Bibliographically approved
Bengtsson, S. (2016). Querdenker der Aufklärung. Studien zu Johann Georg Hamann [Review]. Monatshefte, 108(4), 648-650
Open this publication in new window or tab >>Querdenker der Aufklärung. Studien zu Johann Georg Hamann
2016 (English)In: Monatshefte, ISSN 0026-9271, E-ISSN 1934-2810, Vol. 108, no 4, p. 648-650Article, book review (Other academic) Published
Place, publisher, year, edition, pages
UNIV WISCONSIN PRESS, 2016
National Category
General Literature Studies
Identifiers
urn:nbn:se:uu:diva-321570 (URN)000396700800015 ()
Note

Title in WoS: Cross-thinkers of Enlightenment. Studies on Johann Georg Hamann

Available from: 2017-05-08 Created: 2017-05-08 Last updated: 2017-05-08Bibliographically approved
Bengtsson, S. (2014). ›Beredsamkeit‹ in Lessing’s Zur Geschichte und Litteratur: A Reply to Herder. Rhetorik: ein internationales Jahrbuch, 33, 42-79
Open this publication in new window or tab >>›Beredsamkeit‹ in Lessing’s Zur Geschichte und Litteratur: A Reply to Herder
2014 (English)In: Rhetorik: ein internationales Jahrbuch, ISSN 0720-5775, E-ISSN 1865-9160, Vol. 33, p. 42-79Article in journal (Refereed) Published
Abstract [en]

Towards the end of Ueber die neuere Deutsche Litteratur (On Recent German Literature) (1767), Johann Gottfried Herder publicly makes the call that homiletics is in need of a »completely different kind of eloquence«. Ciceronian eloquence in Germany did not have any public space except from the pulpit, and the eloquence from the pulpit made the public passive, because the preacher pronounced sentences like a judge in a court. Herder turned instead to the Bible as a book that is in need of interpretation, to literature as a public arena where different opinions could meet, to the reader as a detective, and to the story of creation as the secret model by which to create an all-embracing perspective from a diverssity of viewpoints. Herder took a series of isolated judgments (fragments) from leading journals of his day and shaped these broken pieces into puzzle pieces (fragments in a new sense) which can be put together as a panoramic image of recent German literature. Although it challenged the division between painting and poetry of Laokoon, Lessing adopted this form of presentation in his new work Zur Geschichte und Litteratur (On History and Literature) (1773-1777), but retorted on a grander scale by presenting puzzle pieces (fragments) in the form of manuscripts of the Herzog August Library, which together presented a much grander panorama of the history of literature. At this time, Herder, Goethe and Lessing could be seen as an informal group of writers bound together by a similar form or style of presentation.

Place, publisher, year, edition, pages
Berlin: Walter de Gruyter, 2014
Keywords
Lessing, ”Zur Geschichte und Literatur”, Herder, rhetoric, interpretation, hermeneutics, poetics, dialectics, philology, layout, typography, paratext, style of writing, non-linear, materiality
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-282192 (URN)
Available from: 2016-04-04 Created: 2016-04-04 Last updated: 2017-11-02
Bengtsson, S. (2014). »Eine ganz andre Beredsamkeit«: A Reader’s Guide to Ueber die neuere Deutsche Litteratur. In: Ralf Simon (Ed.), Herders Rhetoriken im Kontext des 18. Jahrhunderts: Beiträge zur Konferenz der Internationalen Herder-Gesellschaft: Schloss Beuggen nahe Basel 2012 (pp. 387-410). Heidelberg: Synchron Wissenschaftsverlag der Autoren
Open this publication in new window or tab >>»Eine ganz andre Beredsamkeit«: A Reader’s Guide to Ueber die neuere Deutsche Litteratur
2014 (English)In: Herders Rhetoriken im Kontext des 18. Jahrhunderts: Beiträge zur Konferenz der Internationalen Herder-Gesellschaft: Schloss Beuggen nahe Basel 2012 / [ed] Ralf Simon, Heidelberg: Synchron Wissenschaftsverlag der Autoren, 2014, p. 387-410Chapter in book (Refereed)
Place, publisher, year, edition, pages
Heidelberg: Synchron Wissenschaftsverlag der Autoren, 2014
Keywords
Interpretation, hermeneutics, rhetorics, poetics, dialectics, philology, editorial science, thought image, layout, paratext, style of writing, non-linear, materiality
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-282196 (URN)978-3-939381-58-7 (ISBN)
Available from: 2016-04-04 Created: 2016-04-04 Last updated: 2017-11-01Bibliographically approved
Bengtsson, S. (2014). Von Deutscher Baukunst: Über eine deutsche Kunst, Texte zu bauen. In: Mattias Pirholt & Andreas Hjort Møller (Ed.), »Darum ist die Welt so groß«: Raum, Platz und Geographie im Werke Goethes (pp. 107-156). Heidelberg: Universitätsverlag Winter
Open this publication in new window or tab >>Von Deutscher Baukunst: Über eine deutsche Kunst, Texte zu bauen
2014 (German)In: »Darum ist die Welt so groß«: Raum, Platz und Geographie im Werke Goethes / [ed] Mattias Pirholt & Andreas Hjort Møller, Heidelberg: Universitätsverlag Winter, 2014, p. 107-156Chapter in book (Refereed)
Abstract [de]

Durch eine nichtlineare Schreibweise gelingt es Goethe eine Art Design bautechnisch zu entdecken und schreibtechnisch zu schöpfen, welches sich in beiden Fällen an der Oberfläche ablesen lässt. Die Bausteine im Werk (Stücke, Sektionen) weisen als Form eine Intentionalität auf, in der die betreffenden Texteinheiten (Stücke, Sektionen) eine gewisse Position im Verhältnis zu den anderen Texteinheiten (peripher oder zentral) einnehmen, deren Inhalt zwar interpretiert werden muss, deren Interpretation aber in gewisser Hinsicht auch von der gleichen Form begrenzt wird. Die Schreibweise des Essays, die wir Stil nennen können, ist unabhängig von den verschiedenen Schreibweisen, die wir mit dem Goethe des Sturm und Drang bzw. der Klassik verbinden und die wir üblicherweise Stil nennen.

Place, publisher, year, edition, pages
Heidelberg: Universitätsverlag Winter, 2014
Series
Beiträge zur neueren Literaturgeschichte, ISSN 0179-4027 ; 326
Keywords
Goethe, Von Deutscher Baukunst, Herder, interpretation, hermeneutics, poetics, dialectics, philology, layout, typography, paratext, style of writing, non-linear, materiality
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-282194 (URN)978-3-8253-6279-9 (ISBN)
Available from: 2016-04-04 Created: 2016-04-04 Last updated: 2017-11-01Bibliographically approved
Bengtsson, S. (2010). Challenging Linearity: Finding the Perspective of Herder’s Aelteste Urkunde des Menschengesclechts. In: Sabine Groß (Ed.), Herausforderung Herder / Herders as Challenge: Ausgewählte Beiträge zur Konferenz der Internationalen Herder-Gesellschaft Madison 2006 (pp. 281-330). Heidelberg: Synchron Wissenschaftsverlag der Autoren
Open this publication in new window or tab >>Challenging Linearity: Finding the Perspective of Herder’s Aelteste Urkunde des Menschengesclechts
2010 (English)In: Herausforderung Herder / Herders as Challenge: Ausgewählte Beiträge zur Konferenz der Internationalen Herder-Gesellschaft Madison 2006 / [ed] Sabine Groß, Heidelberg: Synchron Wissenschaftsverlag der Autoren, 2010, p. 281-330Chapter in book (Refereed)
Abstract [en]

The article argues that all posthumous editions of Herder’s Aelteste Urkunde des Menschengeschlechts, vol. I (1774) are based on an unauthorized impression of the first edition (a ›normalized‹ version initiated by the printing house Breitkopf and the publisher Hartknoch) and that a previously unknown impression – marred by what appear to be striking printing errors and irregularities – must be the original version that was authorized by Herder. It also shows the important role typography and layout play in this work and the extent to which our understanding of the text is affected by the degree to which, for Herder, form of argument and material shape of the text are interrelated. Ultimately, it argues for a way of reading Herder that is attuned to the author’s subversion of linearity.

Abstract [de]

Dieser Beitrag vertritt die Auffassung, dass allen vorhandenden Ausgaben von Herders Aelteste Urkunde des Menschengeschlechts, 1. Band (1774) ein falscher Druck der ersten Ausgabe (nämlich der einer von der Druckerei Breitkopf und dem Verleger Hartknoch normalisierten Version) zugrunde liegt, und dass ein bisher unbekannter Druck, trotz einer Reihe auffälliger Druckfehler und Merkwürdigkeiten, die von Herder genehmigte Originalversion sein muss. Er geht detailliert auf die wichtige Rolle von Typografie und Layout in diesem Werk ein und zeigt, dass Aufmerksamkeit für das Maß, in dem bei Herder »Form« der Argumentation und materielle Textgestalt Hand in Hand gehen, signifikant für unser Verständnis von Herders Schreibweise ist. Letzlich plädiert der Beitrag für eine Lektüre, die sich an Herders kritischer Einstellung gegenüber linearer Sequentialiität orientiert.

Place, publisher, year, edition, pages
Heidelberg: Synchron Wissenschaftsverlag der Autoren, 2010
Keywords
Herder, ”Älteste Urkunde des Menschengeschlechts”, ”Oldest Document of the Human Race”, interpretation, hermeneutics, poetics, dialectics, philology, thought image, layout, typography, editorial science, paratext, style of writing, non-linear
National Category
General Literature Studies
Research subject
Literature
Identifiers
urn:nbn:se:uu:diva-282197 (URN)978-3-939381-24-2 (ISBN)
Available from: 2016-04-04 Created: 2016-04-04 Last updated: 2017-11-01Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0001-8553-9547

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