Astrid Lindgren’s children’s novel Vi på Saltkråkan (1964) which is set in the outer archipelago of Stockholm is an ideal case for the study of a variety of eco- or “environmental critical” (Buell, ...2005) themes and motifs. There is for instance, the ideo-historical motif of the representation of a number of positions on nature and the physical environment generally, from the most anthropocentric one of Vesterman over the “sociocentric” (Buell 2005) view represented by the Grankvist family, to the eco- or biocentric stand of Pelle, which is epitomized in his love and defense of all kinds of animals including the most threatening and irritating ones. There is also the ecocritical generic problem of the idyll. More themes could be named. What will be at the centre of attention in this article, however, is the motif of weather as connected to that of locale, or place, and the Melkersons and the islanders’ defense of place. I suggest that part of the novel’s environmental relevance lies in what could be understood through the metaphor of contract: the characters enter a contract of dependence through the category of weather. This contract is deeply place-related and existentially loaded. The motif of weather cuts into the idea of environmental justice (Adamson, Evans and Stein, 2002), through the Melkersons’ struggle to save Snickargården, a struggle which is shared by the islanders themselves. The weather always serves to underscore the Melkersons’ attachment to place which is one of deepest solidarity, and to home. The novel contains an escathological undercurrent related to place and to weather. In the emphasis on this, the novel offers a profound environmental insight into the dependence of human existence upon environment. Keywords: ecocriticism; environmental criticism; Astrid Lindgren; Vi på Saltkråkan; environment; nature; landscape; place; weather; eschatology; environmental justice.
The following chapter aims at unfoldingthe multilayered circumstances fromwhich the current debates about cattle and their living conditions grew, givingmeaning to the idea of the“happy cow,”seen in ...the marketing of dairy and meatproducts, as well as popular events such as pasture releases. The goal is to investi-gate how the well-being of cows was understood in different contexts, opening ahistorisation of modern animal welfare, food production and husbandry. Thechapter asks why ideas about the necessity of cows to be happy emerged in thedebate at the time they did, and what areas of conflict they related to. The methodused is archaeological, broadly contextualising the idea of the necessity of cowsbeing happy. A wide range of sources are used: the critical articles, propositionsand debates concerning animal welfare laws, the industry magazineHusdjurandliterature about the handling of animals in zoos and in training. The case here isSweden with its claim and self-image of being a nation with a very high level ofanimal welfare.
Il s’agit dans cette contribution de comprendre comment les cultures matérielles enfantines sont intégrées dans des approches pédagogiques novatrices en Suède. Nous nous appuierons en particulier sur ...la manière dont l’univers d’Astrid Lindgren a été matérialisé dans des musées pour enfants (Junibacken à Stockholm, Ville Villekula dans le Småland). Les musées pour enfants se sont multipliés en Suède avec notamment des invitations à la lecture, des pièces de théâtre et des mises en scène des héros suédois (ours Bamse, Pettson et Findus). Les écoles elles-mêmes sont invitées à utiliser ces lieux comme leviers pédagogiques pour favoriser l’éveil des enfants. Cet article souhaiterait montrer comment ces lieux favorisent l’intégration des enfants dans un récit national mettant en perspective une pédagogie libérale. Nous présenterons le musée dédié aux personnages d’Astrid Lindgren. Junibacken est d’autant plus intéressant qu’Astrid Lindgren a participé à sa mise en place. Les enfants sont guidés ainsi par un train à histoires qui juxtapose des personnages d’Astrid Lindgren (Emil, Karlsson på taket, Pippi…). Puis la maison de Pippi Långstrump (Fifi Brindacier) est représentée à l’étage, les enfants pouvant manipuler et jouer avec l’univers de ce personnage devenu un mythe national. Ces matérialisations reflètent une culture de masse enfantine spécifique où l’imaginaire enfantin est enchanté. Dans le même temps, les politiques de l’enfance veillent à protéger l’enfant de toute forme de tracasserie (lutte contre le phénomène de mobbning) et de punition physique (interdiction de la fessée et de toute forme de contrainte physique au sein de l’éducation).
In Astrid Lindgren’s authorship, there are many bodies in motion, and one of her most movable and energetic characters is Pippi Longstocking. In the illustrated novels about Pippi (Lindgren and Nyman ...1945, 1946, and 1948) there are relatively few pictures, and as a result, Lindgren's words carry most of the story. In the novels, her words have a greater functional load (Kress 2003, 46 ) than Nyman’s pictures. Naturally then, the words convey most of the information about Pippi and the other characters' movements. But how does the portrayal of bodies in motion change when Pippi is portrayed in picturebooks where the pictures have a lot more space, ie, a greater functional load than in the illustrated novels? The aim of this article is to study bodies in motion in Astrid Lindgren’s and Ingrid Nyman’s picturebook Do you Know Pippi Longstocking? (1947). My main focus will be how words and illustrations – together and separately – provide the reader with information about Pippi’s movements in this picturebook.
Astrid Lindgren’s children’s novel Vi på Saltkråkan (1964) which is set in the outer archipelago of Stockholm is an ideal case for the study of a variety of eco- or “environmental critical” (Buell, ...2005) themes and motifs. There is for instance, the ideo-historical motif of the representation of a number of positions on nature and the physical environment generally, from the most anthropocentric one of Vesterman over the “sociocentric” (Buell 2005) view represented by the Grankvist family, to the eco- or biocentric stand of Pelle, which is epitomized in his love and defense of all kinds of animals including the most threatening and irritating ones. There is also the ecocritical generic problem of the idyll. More themes could be named. What will be at the centre of attention in this article, however, is the motif of weather as connected to that of locale, or place, and the Melkersons and the islanders’ defense of place. I suggest that part of the novel’s environmental relevance lies in what could be understood through the metaphor of contract: the characters enter a contract of dependence through the csategory of weather. This contract is deeply place-related and existentially loaded. The motif of weather cuts into the idea of environmental justice (Adamson, Evans and Stein, 2002), through the Melkersons’ struggle to save Snickargården, a struggle which is shared by the islanders themselves. The weather always serves to underscore the Melkersons’ attachment to place which is one of deepest solidarity, and to home. The novel contains an escathological undercurrent related to place and to weather. In the emphasis on this, the novel offers a profound environmental insight into the dependence of human existence upon environment.
In Astrid Lindgren's authorship, there are many bodies in motion, and one of her most movable and energetic characters is Pippi Longstocking. In the illustrated novels about Pippi (Lindgren and Nyman
...1945
1946
, and 1948) there are relatively few pictures, and as a result, Lindgren's words carry most of the story. In the novels, her words have a greater functional load (Kress
2003
, 46) than Nyman's pictures. Naturally then, the words convey most of the information about Pippi and the other characters' movements. But how does the portrayal of bodies in motion change when Pippi is portrayed in picturebooks where the pictures have a lot more space, ie, a greater functional load than in the illustrated novels? The aim of this article is to study bodies in motion in Astrid Lindgren's and Ingrid Nyman's picturebook Do you Know Pippi Longstocking? (1947). My main focus will be how words and illustrations - together and separately - provide the reader with information about Pippi's movements in this picturebook.
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