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Den dubbla scenen: Muntlig diktning från Eddan till Abba
Den dubbla scenen kom ut första gången 1978. Då väckte den föga uppmärksamhet eftersom de teorier Lönnroth byggde sitt resonemang på var relativt okända i Sverige. Nu har den dock blivit en ofta åberopad klassiker sedan nya genrer som exempelvis estradpoesi och hip hop har aktualiserat ämnet.
I Den dubbla scenen analyserar Lönnroth villkoren för muntligt förmedlad diktning i Norden från Eddan till Abba. Han menar att texter måste förstås mot bakgrund av deras ursprungliga framförande och den miljö där berättaren eller sångaren från början mötte sin publik. Titeln den dubbla scenen syftar till idén om sambandet mellan berättarens scen och berättelsens scen.
I denna nya upplaga har den senare utvecklingen på området följts upp i förordet och i en nyskriven efterskrift. Boken är en faksimil med ett nytt förord och en ny efterskrift.
I Den dubbla scenen analyserar Lönnroth villkoren för muntligt förmedlad diktning i Norden från Eddan till Abba. Han menar att texter måste förstås mot bakgrund av deras ursprungliga framförande och den miljö där berättaren eller sångaren från början mötte sin publik. Titeln den dubbla scenen syftar till idén om sambandet mellan berättarens scen och berättelsens scen.
I denna nya upplaga har den senare utvecklingen på området följts upp i förordet och i en nyskriven efterskrift. Boken är en faksimil med ett nytt förord och en ny efterskrift.
431 pages, Hardcover
First published January 1, 1978
3 people want to read
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January 13, 2013
A quick and dirty review! Lönnroth's work was probably the first book that dealt with oral-formulaic and oral theory in Sweden. It is aimed primarily at Scandinavian audiences, not only in that he wrote in Sweden, but with his selection of material, which he draws from Scandinavian/Nordic sources, including the poetic Edda, Hans Christian Andersen, Swedish ballads, Evert Taube and last and not least, Abba.
Lönnroth's most important theoretical development is his idea of "den dubbla scenen" (the double stage). He suggests that there are always several stages on which a oral performance is performed, whether recitation of a mythological poem or, a reading aloud of a printed work, the singing of a folk song (or the transcription of it) or a recorded artist's studio performance. These stages include the scenes where the actions take place in a song and the stage where the song is performed. The example he uses to demonstrate his idea is that of a mother reading a good-night of Little Red Riding Hood to her child (8-9). The mother can create the fictive scene for the child in her performance of the story. There are two layers here: 1) the stage of performance, the world in which the story is being told; 2) the stage in which the performed story takes place (9). These stages can help to illuminate readings (or interpretations) of a text or song - a ballad sung (or written down) in a 16th century aristocratic environment will differ significantly from the same ballad type sung by peasants in the 19th century. The environments can help explain why texts or songs are different.
Lönnroth's most important theoretical development is his idea of "den dubbla scenen" (the double stage). He suggests that there are always several stages on which a oral performance is performed, whether recitation of a mythological poem or, a reading aloud of a printed work, the singing of a folk song (or the transcription of it) or a recorded artist's studio performance. These stages include the scenes where the actions take place in a song and the stage where the song is performed. The example he uses to demonstrate his idea is that of a mother reading a good-night of Little Red Riding Hood to her child (8-9). The mother can create the fictive scene for the child in her performance of the story. There are two layers here: 1) the stage of performance, the world in which the story is being told; 2) the stage in which the performed story takes place (9). These stages can help to illuminate readings (or interpretations) of a text or song - a ballad sung (or written down) in a 16th century aristocratic environment will differ significantly from the same ballad type sung by peasants in the 19th century. The environments can help explain why texts or songs are different.
Displaying 1 of 1 review