(abstract) - Revision history

AKulsdom at 15:22, 3 October 2012

AKulsdom — Wed, 03 Oct 2012 15:22:05 GMT

←Older revision		Revision as of 15:22, 3 October 2012
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		+	'''The Case of L. Onerva: A “Decadent New Woman” Cultural Mediator within the Finnish National Literary Institution'''<br><br>
		+
	The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva] produced her major works during the first decade of the 20th century, but the spirit of these texts, influenced mostly by French symbolism and decadence, can be characterized as a part of the European fin de siècle. L. Onerva is a most interesting case from the point of view of the early 20th-century translation studies as well as the studies of mediating foreign cultural influences in Finland. Finnish translation scholars labeled L. Onerva the most prolific translator and propagator of French culture in early 20th-century Finland, but as a literary critic and author she mediated not only influences from the “exporting”, “major” literatures and cultures (such as the French one), but also from the “minor”, mostly Nordic ones. Most of the authors whose work she translated, reviewed and researched were men (Musset, Baudelaire, Mauclair, Bourget, etc.), but there were also women ([http://neww.huygens.knaw.nl/authors/show/34 Germaine de Staël], [http://neww.huygens.knaw.nl/authors/show/3436 Marcelle Tinayre], [http://neww.huygens.knaw.nl/authors/show/525 Selma Lagerlöf]), some of whom sharing L. Onerva’s interest in the figure of the “New Woman” and the explicitly female point of view. <br><br>		The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva] produced her major works during the first decade of the 20th century, but the spirit of these texts, influenced mostly by French symbolism and decadence, can be characterized as a part of the European fin de siècle. L. Onerva is a most interesting case from the point of view of the early 20th-century translation studies as well as the studies of mediating foreign cultural influences in Finland. Finnish translation scholars labeled L. Onerva the most prolific translator and propagator of French culture in early 20th-century Finland, but as a literary critic and author she mediated not only influences from the “exporting”, “major” literatures and cultures (such as the French one), but also from the “minor”, mostly Nordic ones. Most of the authors whose work she translated, reviewed and researched were men (Musset, Baudelaire, Mauclair, Bourget, etc.), but there were also women ([http://neww.huygens.knaw.nl/authors/show/34 Germaine de Staël], [http://neww.huygens.knaw.nl/authors/show/3436 Marcelle Tinayre], [http://neww.huygens.knaw.nl/authors/show/525 Selma Lagerlöf]), some of whom sharing L. Onerva’s interest in the figure of the “New Woman” and the explicitly female point of view. <br><br>

AKulsdom at 13:43, 3 October 2012

AKulsdom — Wed, 03 Oct 2012 13:43:07 GMT

←Older revision		Revision as of 13:43, 3 October 2012
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	<br><br>		<br><br>
-	The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva] produced her major works during the first decade of the 20th century, but the spirit of these texts, influenced mostly by French symbolism and decadence, can be characterized as a part of the European fin de siècle. L. Onerva is a most interesting case from the point of view of the early 20th-century translation studies as well as the studies of mediating foreign cultural influences in Finland. Finnish translation scholars labeled L. Onerva the most prolific translator and propagator of French culture in early 20th-century Finland, but as a literary critic and author she mediated not only influences from the “exporting”, “major” literatures and cultures (such as the French one), but also from the “minor”, mostly Nordic ones. Most of the authors whose work she translated, reviewed and researched were men (Musset, Baudelaire, Mauclair, Bourget, etc.), but there were also women (Germaine de Staël, Marcelle Tinayre, Selma Lagerlöf), some of whom sharing L. Onerva’s interest in the figure of the “New Woman” and the explicitly female point of view. <br><br>	+	The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva] produced her major works during the first decade of the 20th century, but the spirit of these texts, influenced mostly by French symbolism and decadence, can be characterized as a part of the European fin de siècle. L. Onerva is a most interesting case from the point of view of the early 20th-century translation studies as well as the studies of mediating foreign cultural influences in Finland. Finnish translation scholars labeled L. Onerva the most prolific translator and propagator of French culture in early 20th-century Finland, but as a literary critic and author she mediated not only influences from the “exporting”, “major” literatures and cultures (such as the French one), but also from the “minor”, mostly Nordic ones. Most of the authors whose work she translated, reviewed and researched were men (Musset, Baudelaire, Mauclair, Bourget, etc.), but there were also women ([http://neww.huygens.knaw.nl/authors/show/34 Germaine de Staël], [http://neww.huygens.knaw.nl/authors/show/3436 Marcelle Tinayre], [http://neww.huygens.knaw.nl/authors/show/525 Selma Lagerlöf]), some of whom sharing L. Onerva’s interest in the figure of the “New Woman” and the explicitly female point of view. <br><br>

	L. Onerva's work and her position in the literary field are also very relevant within the framework of the studies of gender and nationalism. She was a Finnish language writer in the still stateless Finland, where the national revival was reaching its peak and many visible writers oscillated between inclinations towards cosmopolitan, often French oriented decadent aestheticism, and didactic (“anti-decadent”) nationalism, which was required of them by the Finnish “national philosopher” J. V. Snellman. <br><br>		L. Onerva's work and her position in the literary field are also very relevant within the framework of the studies of gender and nationalism. She was a Finnish language writer in the still stateless Finland, where the national revival was reaching its peak and many visible writers oscillated between inclinations towards cosmopolitan, often French oriented decadent aestheticism, and didactic (“anti-decadent”) nationalism, which was required of them by the Finnish “national philosopher” J. V. Snellman. <br><br>
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-	SvD, September 2010	+	AsK, October 2012
	<hr>		<hr>

	<br>		<br>
-	*Conferences and activities > COST meetings > Ljubljana World Book Capital > Abstract Capkova <br><br>	+	*Conferences and activities > [http://www.womenwriters.nl/index.php/NEWW_international_conferences NEWW international conferences] > [http://www.womenwriters.nl/index.php/Women%27s_authorship_and_literatures_of_small_countries_in_the_19th_century Ljubljana 2010] > Capkova <br><br>

SvDijk at 12:39, 19 September 2010

SvDijk — Sun, 19 Sep 2010 12:39:15 GMT

←Older revision		Revision as of 12:39, 19 September 2010
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	<br><br>		<br><br>
-	The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva]produced her major works during the first decade of the 20th century, but the spirit of these texts, influenced mostly by French symbolism and decadence, can be characterized as a part of the European fin de siècle. L. Onerva is a most interesting case from the point of view of the early 20th-century translation studies as well as the studies of mediating foreign cultural influences in Finland. Finnish translation scholars labeled L. Onerva the most prolific translator and propagator of French culture in early 20th-century Finland, but as a literary critic and author she mediated not only influences from the “exporting”, “major” literatures and cultures (such as the French one), but also from the “minor”, mostly Nordic ones. Most of the authors whose work she translated, reviewed and researched were men (Musset, Baudelaire, Mauclair, Bourget, etc.), but there were also women (Germaine de Staël, Marcelle Tinayre, Selma Lagerlöf), some of whom sharing L. Onerva’s interest in the figure of the “New Woman” and the explicitly female point of view. <br><br>	+	The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva] produced her major works during the first decade of the 20th century, but the spirit of these texts, influenced mostly by French symbolism and decadence, can be characterized as a part of the European fin de siècle. L. Onerva is a most interesting case from the point of view of the early 20th-century translation studies as well as the studies of mediating foreign cultural influences in Finland. Finnish translation scholars labeled L. Onerva the most prolific translator and propagator of French culture in early 20th-century Finland, but as a literary critic and author she mediated not only influences from the “exporting”, “major” literatures and cultures (such as the French one), but also from the “minor”, mostly Nordic ones. Most of the authors whose work she translated, reviewed and researched were men (Musset, Baudelaire, Mauclair, Bourget, etc.), but there were also women (Germaine de Staël, Marcelle Tinayre, Selma Lagerlöf), some of whom sharing L. Onerva’s interest in the figure of the “New Woman” and the explicitly female point of view. <br><br>

	L. Onerva's work and her position in the literary field are also very relevant within the framework of the studies of gender and nationalism. She was a Finnish language writer in the still stateless Finland, where the national revival was reaching its peak and many visible writers oscillated between inclinations towards cosmopolitan, often French oriented decadent aestheticism, and didactic (“anti-decadent”) nationalism, which was required of them by the Finnish “national philosopher” J. V. Snellman. <br><br>		L. Onerva's work and her position in the literary field are also very relevant within the framework of the studies of gender and nationalism. She was a Finnish language writer in the still stateless Finland, where the national revival was reaching its peak and many visible writers oscillated between inclinations towards cosmopolitan, often French oriented decadent aestheticism, and didactic (“anti-decadent”) nationalism, which was required of them by the Finnish “national philosopher” J. V. Snellman. <br><br>

SvDijk at 12:38, 19 September 2010

SvDijk — Sun, 19 Sep 2010 12:38:56 GMT

←Older revision		Revision as of 12:38, 19 September 2010
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	<br>		<br>
-	*Participants > Mihurko <br><br>	+	*Conferences and activities > COST meetings > Ljubljana World Book Capital > Abstract Capkova <br><br>

SvDijk: New page:
NOEDITSECTION == Abstract Viola Capkova ==

The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva]produced her major works during the first decade o...

SvDijk — Sun, 19 Sep 2010 12:36:56 GMT

New page: __NOEDITSECTION__ == Abstract Viola Capkova == The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva]produced her major works during the first decade o...

New page

__NOEDITSECTION__
== Abstract Viola Capkova ==

 
The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva]produced her major works during the first decade of the 20th century, but the spirit of these texts, influenced mostly by French symbolism and decadence, can be characterized as a part of the European fin de siècle. L. Onerva is a most interesting case from the point of view of the early 20th-century translation studies as well as the studies of mediating foreign cultural influences in Finland. Finnish translation scholars labeled L. Onerva the most prolific translator and propagator of French culture in early 20th-century Finland, but as a literary critic and author she mediated not only influences from the “exporting”, “major” literatures and cultures (such as the French one), but also from the “minor”, mostly Nordic ones. Most of the authors whose work she translated, reviewed and researched were men (Musset, Baudelaire, Mauclair, Bourget, etc.), but there were also women (Germaine de Staël, Marcelle Tinayre, Selma Lagerlöf), some of whom sharing L. Onerva’s interest in the figure of the “New Woman” and the explicitly female point of view. 

L. Onerva's work and her position in the literary field are also very relevant within the framework of the studies of gender and nationalism. She was a Finnish language writer in the still stateless Finland, where the national revival was reaching its peak and many visible writers oscillated between inclinations towards cosmopolitan, often French oriented decadent aestheticism, and didactic (“anti-decadent”) nationalism, which was required of them by the Finnish “national philosopher” J. V. Snellman. 

By examining L. Onerva's case, I intend to tackle the crucial questions, issues and topics which will be central in this meeting.

 

SvD, September 2010
<hr>

 
*Participants > Mihurko

(abstract) - Revision history

AKulsdom at 15:22, 3 October 2012

AKulsdom at 13:43, 3 October 2012

SvDijk at 12:39, 19 September 2010

SvDijk at 12:38, 19 September 2010

SvDijk: New page: __NOEDITSECTION__ == Abstract Viola Capkova == The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva]produced her major works during the first decade o...

SvDijk: New page:
NOEDITSECTION == Abstract Viola Capkova ==

The Finnish writer [http://neww.huygens.knaw.nl/authors/show/3463 L. Onerva]produced her major works during the first decade o...