Contenu du sommaire

Tove Jansson has twice revised her first moomin books. The moomin work published today, the moomin suite, differs radically from the series of nine original moomin books. This article deals with some of the effects of the the final revison of the moomin work. It begins with a brief summary of the extent and the consequences of the alterations. The main parts show how Jansson, in the final suite, has used the illustrations and the statements of the “drawer” to undermine the representation of the “narrator” on the subject of the harmony and the moomin family relations. Il also deals with the transformation of the original The exploits of Moominpappa into the final “Moominpappa's memoares”. It shows the changes that makes moominpappa's book not only a story about his adventurous youth but also a book that sheds light on his actual family life in the moomin valley and thus raises doubts in the reader's mind about the clear-sightedness of the narrator when it comes to the harmony between moominpappa and the moomin family.

Tove Jansson was a major writer and a major painter in a century that was marked by constant criticism of art and its function in society. While she did not align her visual art with avant-garde or modernist movements but followed rather her own path, the numerous painters, illustrators and other art-related characters in her short stories and novels propose a complex reflection on creative work, on the identity of the artists and on art in the society of the 20th century. The topic is particularly interesting since the basic conception of creative work in Jansson's philosophy of art is wide, covering both traditional painting and creative activities in the everyday life.

In Tove Jansson's works, the sea and water often play a meaningful role, giving the writer the opportunity to reflect on the great themes of western philosophy. This article follows Jansson's philosophical subtexts and studies her philosophy of water as a philosophy of life. Four aspect of the topic are analysed : water as a constantly changing element ; the sea as an invitation to adventure and exploration ; the ocean as a seductive yet dangerous element ; and water and the sea as sources, creative and feminine elements of imagination.

This article aims at highlighting Tove Jansson's literature from a specific viewpoint, related to dance and moving. It looks at her work as choreographic constructions, dancelike impressions created by both images and text. Dance was a close and important form of self-expression for Tove Jansson, and her interest in dance and movement can be seen by looking at her work, too. In Moomin books dancing expresses many feelings and phases in the stories – joy of life, escapism, rebellion and liberation. Jansson however uses choreographic expressions also when describing and illustrating events that are not actually dance but associate to dance, such as movements of nature and the characters' positions and postures that seem pronouncedly expressive and aesthetic. Many characters in Jansson's books have an individual movement language. When shaping these impressions Jansson draws ideas from certain dance conventions such as social dancing, ballet and modern dance With dance and dance-like expressions Jansson implies exceptional nuances in her narratives and art. With them, she is also able to express her own sense of humour.

This article examines the linguistic situation in the Nordic countries from the viewpoint of the ecology of languages in the North. Starting out with a presentation of the idea of the Nordic countries as a linguistic community, it then questions the fairly idyllic image of the North where every country is supposed to be linguistically homogeneous, and where pan-Scandinavian communication is guaranteed by an important mutual intelligibility between languages involved. The author rather holds that all Nordic regions host more or less serious linguistic conflicts, in particular the Nordic (ex)colonies, i.e. all Nordic territories except Denmark and Sweden, once colonized by the latter. The article gives an overall picture of linguistic “hegemony” in the Nordic countries, and asks what criteria may decide whether an (ex-)colonial language imposes itself (as in the case of Swedish in Sápmi) or not (see Danish in the Faroe Islands).

The article introduces students of Scandinavian languages to the Nordic Dialect Corpus. The paper starts with a description of the process of making a corpus of spontaneous speech, with some details on data collection, transcription and tagging. All the Nordic languages are represented in the corpus, though the paper focuses primarily on Norwegian. Furthermore, the text presents basic guidelines for composing searches in the corpus, both simple and extended. A screencast is provided as supplement to the paper, showing and commenting on the examples of search listed in the text. The last sections describe and discuss new, real-life examples on how the corpus can be used for research and teaching.

The article presents an analysis of two contemporary rap lyrics from Oslo, the capital of Norway, where linguistic variation is used as a literary device. Oslo historically had two speech varieties that have converged in the past 400 years. This process has resulted in a speech situation where these now closely related varieties are contesting both socially and linguistically. The article presents the main linguistic differences between what is called the Western and Eastern speech variety in Oslo. The Western variety is a descendant of the Danish high variety spoken in higher social classes in Oslo around the beginning of the 20th century. The Eastern variety is a former low variety spoken among Oslo's simultaneous autochthon population. Today it is difficult to classify these as two separate varieties. They share a common linguistic basis, even if both phonologic, morphologic, and also some syntactic features still separate them. This remaining variation is something the speakers of these varieties exploit to negotiate social – and in this context also geographic – identity. The analysis of the rap lyrics shows an example of how this negotiation is being practiced.

This study examines the functions of translanguaging, i.e. the use of multiple linguistic resources in informal conversations among bilingual adolescents in three different sociolinguistic settings Haparanda, Stockholm and Helsinki. The focus is on bilingual young people's language in Haparanda, a Swedish town on the country's northeastern border with Finland. The language use of bilingual young people in Haparanda has rarely been studied, although there has been a Finnish-speaking population in northern Sweden for hundreds of years. The theoretical framework is found in the field of translanguaging, which explores bilingual language use and interactional practices rather than focuses on the languages themselves. The primary data from Haparanda (2014-2017) consists of close to twenty hours of video- and audio-recorded informal group and pair conversations. The data from Stockholm (2015-2016) and Helsinki (2014) was collected for comparison. The analysis of the collected data is qualitative. Similar patterns could be found in these three cities, but the language settings impact on adolescents' translanguaging. The study shows that speakers fluently and flexibly make use of their language resources for different communicative purposes, e.g. clarifications, quoting, referring to culturespecific items, expressing feelings and playing with languages. Not only are Standard Swedish and Finnish used in conversations, but so too are English, Meänkieli1, local dialectal features, youth slang and other language resources.