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  • 1.
    Kretz, Camilla
    et al.
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Stam, Per
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics. Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Tedde, Ilaria
    Stockholm University, Faculty of Humanities, Department of Romance Studies and Classics.
    Textkritisk kommentar till August Strindbergs Samlade Verk del 16. Giftas I-II2016Book (Refereed)
  • 2. Landgren, Bengt
    et al.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Textkritisk kommentar till August Strindbergs Samlade Verk del 14. Svenska öden och äventyr II2020Book (Refereed)
  • 3.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Att forska på fragment: om Claes Livijns handskrifter : anförande vid Svenska Vitterhetssamfundets årsmöte den 22 maj 20182019Book (Other academic)
  • 4.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Bilder från Boo: Karl August Nicander – En Magus i Spådomskonsten2012In: Samlaren: tidskrift för svensk litteraturvetenskaplig forskning, ISSN 0348-6133, E-ISSN 2002-3871, Vol. 133, p. 166-222Article in journal (Refereed)
    Abstract [en]

    The essay describes a deck of playing cards with a short handwritten inscription by the Swedish poet Karl August Nicander (1799–1839). The deck is dated 1 October 1834 at the Boo estate, where Nicander was staying in the home of his friend Hugo Hamilton. It is dedicated to a female acquaintance, one of Hugo’s stepsisters, upon the occasion of her leaving Boo and returning home. Since there are no indications of any particularly warm feelings between Nicander and the woman, the versified deck should be considered as an unusual instance of occasional poetry functioning as a prestigious gift. The poet refers to himself as “A Magus at Soothsaying,” and the inscriptions on the cards were meant to be used during fortune-telling games. The tone is playful and light, as the games were more a pastime than serious divination.

    Interiors scenes of the life at Boo are described, with particular attention given to games, interest in the supernatural (such as divination and ghost stories), and occasional poetry; the different types of games mentioned include card games, patience, card tricks, and chess. Nicander’s position as a destitute poet living in an aristocratic household is touched upon. His letters and almanacs give interesting examples of occasions when he was expected to deliver verse during birthday celebrations for members of the household at Boo. The epithet ‘society poet’ that has sometimes been used to describe Nicander’s strategies in the literary field is thus actualized.

    Thematically, the inscriptions on the cards are discussed against the background of the rich flora of playing instructions and soothsaying games that flooded the Swedish market in the early nineteenth century. The popularity of card motifs in Romantic literature is discussed.

    A deck of cards is also a material object in which the pictorial element dominates. The interplay of the text and images on Nicander’s deck is analysed; the poet’s persistent interest in printing techniques and the materiality of manuscripts are contextualized. A deck of cards with playful, semi-serious occult inscriptions by the hand of a Romantic poet is indeed an unusual object, but at the same time it embodies themes and ideologies typical of its time.

  • 5.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Dynamiska tecken i Clas Livijns Spader Dame2006In: Samlaren: tidskrift för svensk litteraturvetenskaplig forskning, ISSN 0348-6133, E-ISSN 2002-3871, no 127, p. 85-155Article in journal (Refereed)
    Abstract [en]

    This paper examines the short novel Queen of Spades (1824) by the Swedish romantic writer Clas Livijn in respect to four groups of signs found throughout the work. These involve card games and playing cards, different designations for metals, proper names, and the titles of religious literature.

    The theme of battle is paramount in the text. This is already visible in the choice of “Queen of Spades” as the name for the protagonist’s beloved, as this card has been illustrated with a portrait of Pallas Athena, the Goddess of War, since late medieval times. Livijn’s main character, Zachäus Schenander, views himself as a righteous Christian crusading against the moral and aesthetic decay of his contemporaries, who are associated with the forces of evil. The virgin Goddess of War is his muse. Schenander’s pretensions of authority are, however, obscured by irony.

    The investigation of the semiotic and rhetorical strategies that Livijn employs emphasizes the dynamic nature of the signs he uses, that is, the differing and often contrary meanings of a given sign are actualized in respect to different points of view. This results in a text in which virtually every sentence undergoes numerous ironic twists. A central example of such sign usage is the “Queen of Spades” herself, who combines Schenander’s positive view with the negative views held by his antagonists. But the negative connotations, which also dominate Pushkin’s Queen of Spades (1834), cannot be vanquished. The poet-hero is defeated by the hostile corrupted world and is driven insane.

  • 6.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Fantasiens morgonrodnad: En studie i Clas Livijns romaner2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This doctoral thesis investigates four novels of the Swedish Romantic author Clas Livijn (1781–1844). Livijns’s self-reflective prose is dense with allusions to contemporary literary works and political events, delivered in a style that abounds with metaphors and allegories, and characterized by satire, parody, and irony. One aim of this dissertation is to investigate some of the important themes in these four novels and explore the intertextual techniques utilized by means of a semiotics-based approach. My intent in this respect is to identify the intertexts that are actualized and the manner in which they are used.

    A second aim of the study is to explore how the dialogical and allusive elements in Livijn’s work are linked to the practices of collaborative writing and the writer’s own constant rewriting of his works, both of which negate the notion of the solitary “Romantic genius” as an artist who serves as a vessel for the outpouring of the imagination. Livijn’s work is also marked by its fragmented state: several of his novels were never finished, and one of the four books analyzed was not published during his lifetime. Not only did Livijn typically rewrite his works repeatedly, several times he stopped the printing of a given book precisely in order to rewrite it. The manuscript versions of his novels give an insight into the genesis of the works and Livijn’s creative process, including his relentless efforts to increase the density of the allusions.

    The imagination, as one of the key concepts of Romanticism, plays a prominent role in Livijn’s novels. However, the ambiguous relations that his heroes have with the imagination are symptomatic of the duality imbedded in Livijn’s own relation to Romantic stereotypes. Although he makes use of them in his novels, he also undermines them with irony (at times Romantic irony) and satire.

    There has been little previous research on Livijn’s work, and that which exists is mainly focused on only one of his novels, The Queen of Spades (1824). Consequently, a third aim of this thesis is to reveal the diversity of Livijn’s work: although the four novels share a certain number of qualities, including metafictional elements and a high degree of self-reflectivity, they differ substantially in respect to their genres, styles, and narrative techniques. Within a broader context, the thesis contributes to the historiography of the novel as a genre in Swedish Romanticism.

  • 7.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Gun Bergman, 1916–19712013In: Svenskt översättarlexikon / [ed] Lars Kleberg, Huddinge: Södertörns högskola, 2013Chapter in book (Other academic)
  • 8.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Gunvor (Gun) Marianne Bergman2018In: Svenskt kvinnobiografiskt lexikon, Göteborg: Göteborgs universitet, 2018Chapter in book (Other academic)
  • 9.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    I vänskapsfull åtanke: Ett brev från Lorenzo Hammarsköld till Carl Fredrik Dahlgren2014In: Samlaren: Tidskrift för forskning om svensk och annan nordisk litteratur, ISSN 0348-6133, E-ISSN 2002-3871, Vol. 135, p. 204-222Article in journal (Refereed)
    Abstract [en]

    The correspondence of the Swedish Romanticists is still largely unpublished. By publishing and discussing one of the many letters, I wish to illustrate some of the benefits of making the Romanticists’ correspondence available in critical editions. In this section, a letter from Lorenzo Hammarsköld to C. F. Dahlgren, written in 1823, is edited and commentated. The edition is preceded by an introduction, where I point to the important role that Hammarsköld played in Romantic literary networks. The letter reveals new information regarding the publication of several Romantic works, including Almqvist’s Amorina (1822). Further, Hammarsköld’s letter is discussed as an example of a particular epistolary style among the Swedish Romanticists, marked by humour and allegories that often imply a close knowledge of the reader.

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  • 10.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    ”Jag vill förtälja om...” Tal och skrift i Nicander och Norlings spökhistorier2018In: Böckerna i borgen: Ett halvsekel i Roggebiblioteket / [ed] Elin Andersson, Emil Stenback, Stockholm: Kungliga biblioteket , 2018, p. 85-100Chapter in book (Other academic)
  • 11.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Med tvivlet som ledstjärna: en introduktion till Željko Ivanković2009In: Hjärnstorm, ISSN 0348-6958, no 101, p. 24-25Article in journal (Other academic)
  • 12.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Perspektiv på Clas Livijns handskrifter: något om tillkomsten av Spader Dame2015In: Kladd, utkast, avskrift: studier av litterära tillkomstprocesser / [ed] Paula Henrikson, Jon Viklund, Uppsala: Uppsala universitet, 2015, p. 149-179Chapter in book (Refereed)
  • 13.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Presentation av digitaliserad handskrift: Framlidne General-Direktören Claës Livijns Efterlemnade Handskrifter. 3 Delen. Romaner. Ordnade af A. I. Arwidsson. 18502014Other (Other academic)
  • 14.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Robert W. Rix (red.), Mellem ånd og tryksværte. Studier i trykkekulturen og den romantiske litteratur, Köpenhamn, Museum Tusculanums forlag, 2015, 201 sider2016In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, Vol. 46, no 2, p. 98-100Article, book review (Other academic)
  • 15.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Tatuering av identiteter: intervju med Željko Ivanković2009In: Hjärnstorm, ISSN 0348-6958, no 101, p. 26-30Article in journal (Other (popular science, discussion, etc.))
  • 16.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Textkritisk kommentar till August Strindbergs Samlade Verk del 13. Svenska öden och äventyr I2020Book (Refereed)
  • 17.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    "The fucking multilingual world"? Språk och identitet i Aleksandar Hemons författarskap2011In: Okonstlad konst?: Om äkthet och autenticitet i estetisk teori och praktik / [ed] Axel Englund, Anna Jörngården, Lindome: Symposion Brutus Östlings bokförlag, 2011, p. 197-218Chapter in book (Other academic)
  • 18.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    Tre romantiska spaderdamer2011In: IASS 2010 Proceedings / [ed] Claes-Göran Holmberg, Per-Erik Ljung, 2011Conference paper (Other academic)
  • 19.
    Miočević, Ljubica
    Stockholm University, Faculty of Humanities, Department of Literature and History of Ideas, History of Literature.
    'What’s difference?' On Language and Identity in the Writings of Aleksandar Hemon2013In: Languages of exile: migration and multilingualism in twentieth-century literature / [ed] Axel Englund, Anders Olsson, New York: Peter Lang Publishing Group, 2013, p. 55-79Chapter in book (Other academic)
1 - 19 of 19
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