Mening med vrøvlet

Making Sense of Nonsense: Readings of Children’s Poetry as Play and Creative Thinking Abstract: Nonsense and meaning are not necessarily conflicting concepts, but can be conceived of as a hendiadys, that is, not opposites, the one or the other, but as one and the other. The idea that meaning and...

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Autores principales:	Claus K. Madsen, Lea Allouche
Formato:	article
Lenguaje:	DA EN NO SV
Publicado:	Svenska Barnboksinstitutet 2021
Materias:	children’s poetry nonsense playfulness creative thinking poetic language play Literature (General) PN1-6790
Acceso en línea:	https://doaj.org/article/d2e474e95baf414f89914653b7b5b9e4
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spelling	oai:doaj.org-article:d2e474e95baf414f89914653b7b5b9e42021-11-04T22:33:19Z Mening med vrøvlet10.14811/clr.v44.6050347-772Xhttps://doaj.org/article/d2e474e95baf414f89914653b7b5b9e42021-11-01T00:00:00Zhttps://www.barnboken.net/index.php/clr/article/view/605https://doaj.org/toc/0347-772X Making Sense of Nonsense: Readings of Children’s Poetry as Play and Creative Thinking Abstract: Nonsense and meaning are not necessarily conflicting concepts, but can be conceived of as a hendiadys, that is, not opposites, the one or the other, but as one and the other. The idea that meaning and nonsense are related and coexist is a premise for this article, which describes different structures of meaning in the nonsense poetry of Birgitte Krogsbøll and Kamilla Wichmann’s picture book Funkelgnister: Rim, råb og remser (2015, Glittersparks: Rhymes, Roars and Rigmaroles). By linking our analysis of Funkelgnister to Johan Huizinga’s theory of play as a prerequisite for culture, we reveal how the specific structures and logics of the poems generate meaning and thereby we disclose how children’s nonsense poetry is simultaneously meaningful and nonsensical, as a creative thinking akin to culture developed through play and playfulness. We describe how meaning can be sought in three directions, suggested by Gilles Deleuze: above, below and on the surface. In the first case, we consider nonsense as a seductive acoustic phenomenon. In the second, we focus on nonsense poetry as subversive. And finally, in the third case, we show how it is an event. In all, these different aspects demonstrate how nonsense poetry functions as play and challenges our understanding of what it means to read. Following Jurij Lotman’s understanding of pictorial language as creative thinking, we show how nonsense in Funkelgnister opens up a free space by utilizing an in-between, where meaning takes on different forms as signs and sounds, and how the inherent rejection of normative rules of reading in such a venture, initiates a production of meaning as metonymic activity. We thereby highlight how nonsense generates a ground for a creative development of meaning. Claus K. MadsenLea Allouche Svenska Barnboksinstitutetarticlechildren’s poetrynonsenseplayfulnesscreative thinkingpoetic languageplayLiterature (General)PN1-6790DAENNOSVBarnboken: Tidskrift för Barnlitteraturforskning, Vol 44 (2021)
institution	DOAJ
collection	DOAJ
language	DA EN NO SV
topic	children’s poetry nonsense playfulness creative thinking poetic language play Literature (General) PN1-6790
spellingShingle	children’s poetry nonsense playfulness creative thinking poetic language play Literature (General) PN1-6790 Claus K. Madsen Lea Allouche Mening med vrøvlet
description	Making Sense of Nonsense: Readings of Children’s Poetry as Play and Creative Thinking Abstract: Nonsense and meaning are not necessarily conflicting concepts, but can be conceived of as a hendiadys, that is, not opposites, the one or the other, but as one and the other. The idea that meaning and nonsense are related and coexist is a premise for this article, which describes different structures of meaning in the nonsense poetry of Birgitte Krogsbøll and Kamilla Wichmann’s picture book Funkelgnister: Rim, råb og remser (2015, Glittersparks: Rhymes, Roars and Rigmaroles). By linking our analysis of Funkelgnister to Johan Huizinga’s theory of play as a prerequisite for culture, we reveal how the specific structures and logics of the poems generate meaning and thereby we disclose how children’s nonsense poetry is simultaneously meaningful and nonsensical, as a creative thinking akin to culture developed through play and playfulness. We describe how meaning can be sought in three directions, suggested by Gilles Deleuze: above, below and on the surface. In the first case, we consider nonsense as a seductive acoustic phenomenon. In the second, we focus on nonsense poetry as subversive. And finally, in the third case, we show how it is an event. In all, these different aspects demonstrate how nonsense poetry functions as play and challenges our understanding of what it means to read. Following Jurij Lotman’s understanding of pictorial language as creative thinking, we show how nonsense in Funkelgnister opens up a free space by utilizing an in-between, where meaning takes on different forms as signs and sounds, and how the inherent rejection of normative rules of reading in such a venture, initiates a production of meaning as metonymic activity. We thereby highlight how nonsense generates a ground for a creative development of meaning.
format	article
author	Claus K. Madsen Lea Allouche
author_facet	Claus K. Madsen Lea Allouche
author_sort	Claus K. Madsen
title	Mening med vrøvlet
title_short	Mening med vrøvlet
title_full	Mening med vrøvlet
title_fullStr	Mening med vrøvlet
title_full_unstemmed	Mening med vrøvlet
title_sort	mening med vrøvlet
publisher	Svenska Barnboksinstitutet
publishDate	2021
url	https://doaj.org/article/d2e474e95baf414f89914653b7b5b9e4
work_keys_str_mv	AT clauskmadsen meningmedvrøvlet AT leaallouche meningmedvrøvlet
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Mening med vrøvlet

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