The Genre of Trolls - Doria

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ization and unfinalizability co-exist, distributed on two different supernatural characters (text 2: R II 336). One narrative endorses unfinalizability throughout (text 3: SLS 37, 8), while two others reaffirm unfinalizability after the human characters have attempted to finalize the troll (text 5: SLS 137 I, 1; text 1: R II 70). Finally, one story is difficult to analyze in terms of finalization and unfinalizability (text 6: R II 67). Thus, there is a variety of ways of approaching the problem of unfinalizability. Correlating these results with the presence or absence of dialogue, it becomes evident that dialogue is indeed a rare thing, as Bakhtin himself acknowledged. Dialogue is present in some form, at some point, in only two narratives. Dialogue is combined with unfinalizability in one of these (text 1: R II 70), and this is the only instance of dialogue as Bakhtin envisioned it. The boy initially shows respect for the troll girl’s unfinalizability, but later in the story he prefers to finalize her. The second example of dialogue is coupled with finalization, which serves as a reminder that unfinalizability might not be the sole option (text 2: R II 336). The remainder depict monological relations linked with either finalization (text 4: Nyland 1887, 180) or unfinalizability (text 2: R II 336; text 3: SLS 37, 8; text 1: R II 70) at the close of the narratives; two texts finishing with finalization commence with a mixture of monologue and unfinalizability (text 4: Nyland 1887, 180; text 5: SLS 137 I, 1). The last story (text 6: R II 67) also embraces monologue, but it is hard to tell whether it intermingles with finalization or unfinalizability. In order to facilitate an overview of the ratio between finalization and unfinalizability, and monologue and dialogue in my sample of material, I will provide a representation of the structure of the texts in this regard: 276 text 1: R II 70 monologue/unfinalizability – monologue/finalization – monologue/unfinalizability (parents) dialogue/unfinalizability – monologue/finalization – monologue/unfinalizability (boy) text 2: R II 336 dialogue/finalization (humans’ relation to troll woman) monologue/unfinalizability (humans’ relation to male troll) The Problems of Unfinalizability and Dialogue
text 3: SLS 37, 8 monologue/unfinalizability text 4: Nyland 1887, 180 monologue/unfinalizability – monologue/finalization text 5: SLS 137 I, 1 monologue/unfinalizability – monologue/finalization – monologue/unfinalizability text 6: R II 67 monologue/? Thus, unfinalizability is an important ingredient in the construction of the image of the troll at some point in most of these narratives. It is interesting to observe that the troll is more intent on dialogue in one of the narratives (text 2: R II 336). The reason for this might be rather simple: trolls have less to lose in a dialogical encounter because they can always retreat into their own world whenever they wish, where humans cannot follow them, but the human sphere is constantly vulnerable to the intrusion of the supranormal, and humans must therefore guard their interests more carefully. For them, monologue brings relative protection, demarcation and exclusion of the other, an other that far too often reveals itself as too much of a self. The unfinalizability of the troll has serious consequences for the relationship between man and troll. Fear of the troll is explicitly mentioned in two texts (text 2: R II 336; text 4: Nyland 1887, 180), and it is implicitly present in one narrative (text 1: R II 70). All stories but two (text 3: SLS 37, 8; text 2: R II 336) portray overt or covert hostility to the troll. This situation is not exactly conducive to dialogue, which is effectively obstructed by these reactions and attitudes. In contrast, the narrator usually assumes a dialogical position vis-à-vis the troll. For him the unfinalizability of the troll is essential as it offers the prospect of a good story, and even in those cases when the performer allows the troll to be finalized eventually (text 4: Nyland 1887, 180), the troll is nevertheless given much leeway in all its indeterminacy. Unfinalizability is thus deeply embedded in the image of the troll, which brings us to the posited generic significance of unfinalizability in stories of the supernatural. It does seem to be an important element in these narratives, but it is not an Unfinalizability, Dialogue and Stories of the Supernatural 277
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THE GENRE OF TROLLS
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THE GENRE OF TROLLS The Case of a F
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PREFACE I have greatly enjoyed writ
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colleagues to obtain much of my res
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TABLE OF CONTENTS Preface vii 1 Int
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6.4 Novelization 248 6.5 Integratin
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well. Finally, “3.4 Breaking the
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conception of the troll. 1 The obje
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the tension and interplay between t
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are the same as those of the concep
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the practice of changing babies; he
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orientation of the speaker to the r
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and vivid, while the troll in fairy
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Holbek broaches a subject that will
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make a similar, more extended and s
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such as trolls, jötnar and other b
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one other text can be read (Kristev
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vocabulary of intertextual theory,
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forest—which are connected by met
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various formulations of a theme hav
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constitutes an intertextual network
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of them are not even texts, they ma
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Lotte Tarkka implicitly modelled he
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Laura Stark-Arola’s account of th
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disparate material constituted by t
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so Barthes claims. Nevertheless, Ba
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1.5 Method The choice of material h
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in stories of the supernatural has
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2 MATERIAL AND CONTEXT 2.1 General
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Rancken tried to entice his pupils
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made in the parish of Vörå. One g
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collection was entrusted to kompete
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narrator’s train of thoughts cann
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56 Vöråbon är förbehållsam, re
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58 Vid antecknandet af traditionen
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entitled “En jägares äfventyr
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the verge of a civil war, he travel
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64 och således misstron mot främl
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There are four narratives in these
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Edvard Wefvar, who collected in Nyl
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70 pärlor, värda att hopsamlas oc
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villages: the villages of Rejpelt,
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331; Åkerblom 1963: 301); as menti
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2.3.2 Religious context One of my p
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started giving Bible classes in the
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e made in this context; firstly, th
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for shorter periods. He represented
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in Russia is said to presage the ou
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3 DESCRIPTION OF THE TROLL TRADITIO
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conducive to an encounter with trol
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28, 12). As Inger Lövkrona has poi
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In one story, the troll comes to th
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the unhappy troll to its present ha
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with their beautiful singing and po
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An old troll sports a wand possessi
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to intrude on the wedding and save
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when he was allowed to go to church
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104 do it. Butterbelly was going to
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3.3.2 Tension-Filled Tolerance Man
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on similar motifs as an expression
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110 Jag har av gammalt folk hört e
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which the father of the child is so
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the impertinence of its human frien
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true to its word. The troll will sa
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to return to his cows. The shepherd
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Some texts merely comment on the di
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is complete when the man and his wa
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sacred text, which belongs to the c
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1887, 19), and a lion must dance th
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128 Later when the troll was away,
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children or banishing trolls from t
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y Bolstad Skjelbred, and she regard
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After drinking the water of the oth
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etween the sexes and age groups. Th
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destinataire (ou du personnage), du
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inherent in the text relieves these
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word or phrase employed instead of
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144 1) Bergtrollen sägas gärna lo
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pronounces the benediction. In this
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Little Maja refuses to confess her
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unaware of the hardships constituti
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The theme of vanity recurs here, bu
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The image of blindness, concrete in
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156 Så war uti Damasco en lärjung
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158 13) in ánnan påjk råka två
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to the everyday world in the manner
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162 Wår egen kraft är här för s
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The everyday world - application of
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marked. It is a reversion of Saul
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168 guldur. Då husbonden såg penn
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The primeval apple mingles with the
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his father-in-law against him, Jaco
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And when he had spent all, there ar
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176 öfwer henne. Då talade Cain m
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28) Öppna mig förståndets öga,
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of a paradisical state on earth (te
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182 Later on two Thursday mornings
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ather the other way around; on this
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other girls are simply too virtuous
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the intertwining of various interte
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Who had his dwelling among the tomb
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192 10) In those days when there we
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194 spin the hat and ask: ‘Isn’
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196 will stop and pee at the same t
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And the princes, governors, and cap
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And when she hath found it, she cal
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202 19) Jungfru Lena satt på Kelle
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20) Then cometh he to a city in Sam
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And he denied it again. And a littl
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considerable power over his parishi
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y regulated practices (senses two a
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this reluctance demonstrates that d
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same was suggested in the case of t
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epresentation, embodied in the imag
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6 GENRE, PARODY, CHRONOTOPES AND NO
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ounded texts with strong social and
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gap, minimization and maximization,
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of many tales (Propp 1970: 99), and
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Page 244 and 245: 228 2) Little Matt Once a workingma
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Page 248 and 249: world. His friends are deceitful, h
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Page 252 and 253: discourse she is an equally enthral
Page 254 and 255: 238 svar éli se dem. tå an ha gai
Page 256 and 257: 240 rummet, stodo utmed dörren ett
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Page 264 and 265: that he has subverted the ethical f
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Page 268 and 269: collectors, and maybe of his local
Page 270 and 271: the anxieties of the latter, even t
Page 272 and 273: In this theory of aesthetic activit
Page 274 and 275: Here Bakhtin describes perception i
Page 276 and 277: Bakhtin, the gift of form requires
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Page 280 and 281: creation of aesthetic love. Firstly
Page 282 and 283: When the troll arrives to extend th
Page 284 and 285: its chosen form exacerbates its unf
Page 286 and 287: 270 den så grann?” - “Nå, nä
Page 288 and 289: ecause death seldom furnishes a fin
Page 290 and 291: 7.4 Aborted Dialogues A rather spec
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Page 296 and 297: 8 DISCUSSION In this dissertation I
Page 298 and 299: mentalities; in spite of the social
Page 300 and 301: exhibited the Bakhtinian form of di
Page 302 and 303: 9 ABBREVIATIONS AND BIBLIOGRAPHY AT
Page 304 and 305: Bakhtin, M. M. 1993: Toward a Philo
Page 306 and 307: Dentith, Simon 1995: Bakhtinian Tho
Page 308 and 309: Hartmann, Elisabeth 1936: Die Troll
Page 310 and 311: Hymes, Dell 1989: Ways of Speaking.
Page 312 and 313: Mills, Sara 2002: Discourse. Routle
Page 314 and 315: Siikala, Anna-Leena 2000b: Variatio
Page 316 and 317: Vice, Sue 1997: Introducing Bakhtin
Page 318 and 319: R II 131: Löpargossen och hans kat
Page 320 and 321: 3) Tsjittargrå He va’ ejngang e
Page 322 and 323: yet”, the bear answered. When the
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Page 326 and 327: 10) The Three Suitors Once upon a t
Page 328 and 329: Kaptejnin fréga’ to, om dem int
Page 330 and 331: the midnight sun. Her husband didn
Page 332 and 333: 5) Vanligtvis hålla sig trollen i
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Page 338 and 339: Fig. 2. The banishment of Adam and
Page 340 and 341: Fig. 4. The Prodigal Son (Luke 15:2
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Fig. 6. Peter denies Christ (Luke 2
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Fig. 8. The conversion of Paul on t
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The Genre of Trolls - Doria

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