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Бирте Кьер дат. Бирте родилась 1 сентября года в датском городе Орхус. Присоединившись к датской группе «Sunshine Trioen» в году, Бирте начала свою музыкальную карьеру. В году певец и гитарист Джонни Реймар заметил Бирте Кьер в ресторане, заключив с ней контракт на запись. Первым синглом Бирте стала композиция «Arrivederci Franz», давшая певице мгновенный прорыв, став 1 в датском хит-параде «Dansktoppen». В году Бирте участвовала в ревю «Sans Souci, Kolding», а в годах Кьер писала сценарий для театральных постановок. Бирте Кьер пять раз участвовала на фестивале « Dansk Melodi Grand Prix », где выбирали представителя Дании на конкурс песни « Евровидение »:. В году Бирте стала победительницей фестиваля, что дало ей возможность представить Данию на конкурсе песни « Евровидение »:. Бирте никогда не была замужем, но она имела отношения с дирижёром Хельмером Олесеном. В году Кьер была приглашена на популярное телешоу «Vild med dans», но отказалась из-за того, что у неё в сердце образовался тромб. Бирте сделали операцию на сердце, которая прошла успешно. Материал из Википедии — свободной энциклопедии. Дата обращения: 9 сентября Архивировано 16 марта года. Архивировано 17 апреля года. Дата обращения: 24 октября Архивировано 14 февраля года. Архивировано 8 сентября года. Архивировано 16 февраля года. Архивировано 24 февраля года. Архивировано 23 февраля года. Архивировано 27 января года. Архивировано 19 марта года. Billed Bladet 6 октября Дата обращения: 30 октября Архивировано 9 октября года. Архивировано из оригинала 21 сентября года. Дания на «Евровидении». Зачёркнуты только те выступления, когда Дания не участвовала в конкурсе; выделены жирным победы. Участники « Евровидение ». Ссылки на внешние ресурсы. Deezer Spotify. Большая датская. Пространства имён Статья Обсуждение. Просмотры Читать Править Править код История. Скачать как PDF Версия для печати. Бирте Кьер выступает на концерте, год. Орхус , Дания. Dansk Melodi Grand Prix Официальный сайт. Медиафайлы на Викискладе. Предшественник: « Hot Eyes ». Дания на конкурсе песни Евровидение Преемник: Лонни Девантир. Проведение Участие —

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The four texts are connected by a commonality of motifs and thematic elements, identical form and linguistic structure and therefore they comprise a rather unusual tetralogy. Balle belongs to a generation of writers associated with the flourishing of minimalism in Danish literature at the end of the 20th century. The characteristic features of her few works are their intellectual elitism and elaborate, sophisticated form. For citation: Orlova G. Scandinavian Philology, , vol. All of her works are experimental, but the four texts of the 'tetralogy' are the quintessence of a genre experiment in search of a new minimal aesthetic. Keywords: contemporary Danish literature, Solvej Balle, minimalism, pointillist novel, genre experiment, lyric prose, prose poem, fragmentation. Solvej Balle belongs to a remarkable generation of modern Danish writers born in the s who embarked on their careers in the late s — early s to challenge traditional patterns and experiment. This era can be described as the high day of minimalism in Danish prose. Most of the writers from this generation graduated from the Danish Academy of Creative Writing Forfatterskolen , founded in by Danish poet and linguist Per Aage Brandt and modernist poet and critic Poul Borum. Her writings also reveal a clear tendency to merge minimalism with lyrical prose. Danish literature of the s as such was defined by two opposite tendencies: while traditional Scandinavian narrative forms continued to develop, it was also a time of radical experimentation and attempts to modify and combine genre forms and find a new aesthetic \\\\\\[Pimonov, , p. It was the time when minimalism in Denmark emerged as a holistic phenomenon and 'the discussion about minimalism as a literary movement occurred in Danish literary studies' \\\\\\[Bunch, , p. The exact origins of Danish literary minimalism are controversial. Pimonov lists the concepts behind American Minimal Art from the late s — early s as well as the aesthetic of European short stories among its external sources \\\\\\[Pimonov, , p. Ipsen, while acknowledging the role of Danish literary tradition in shaping Danish minimalism, suggests taking into consideration Norwegian minimalism as another source of influence:. One can trace the origins of Danish short prose to many places: the shortest and least regularly adventurous of H. You can also trace it to the laconic style of the Icelandic sagas, the fable, the romantic fragment, the American short story or the short-short story. But you can also trace it to Norway. Not many people have been aware of this perspective \\\\\\[Ipsen, , p. Ipsen notes the impact of Norwegian 'punktroman' or pointil-list novel very short texts united by formal criteria or a small text divided into many fragments — points on the Danish minimalists. However, according to Lars Handesten, three very remarkable books were published in Denmark at the end of the s: 'Sometimes they love each other' by Charlotte Strandgaard, 'Love from Trieste' and 'Today it is Daisy' by Kirsten Thorup. As stated by Handesten, those texts were actually written as pointillist novels, which means that the pointillist novel appeared in Norway and Denmark simultaneously. Handesten links this disintegration of the traditional novel format of the late s with the convergence between prose and lyrics \\\\\\[Handesten, \\\\\\]. Indeed, minimalism in general has deep roots in Danish literature as has the fusion of minimalism and lyric prose in particular. Above all, in our opinion, the origin should be sought in the works of Hans Peter Jacobsen. At the beginning of the 20th century, the technique of text fragmentation was developed by Johannes V. Jensen in his 'Myths' — lyrical and philosophical sketches. This was an innovative genre at that time \\\\\\[Saltykov, , p. Speaking of the diversity of minimalist writing, Mads Bunch notes 'small impressionistic or surrealistic texts characterised by repetitions, as we see, among others, in the Danish tradition' \\\\\\[Bunch, , p. These texts, in which minimalism intersects with lyric prose, seem to be influenced by 'impressionistic fragmentation', which, according to A. Korovin 'implies first getting to know the details, whereupon a complete picture of the world appears' \\\\\\[Korovin, , p. Although the s literary revolution in Denmark should be considered within the framework of European culture in general, it is rooted in the national literary tradition as well. A trademark feature of the s writers was experimentation with form and style in their early works, Solvej Balle being no exception. However, many 'experimenters' later turned to traditional forms, and in this regard, Balle is an exception: whatever she writes is an experiment. The writer works with an extremely vast variety of literary forms, which, however, have several common features. Balle has a thorough theoretical education: in addition to a course at the Danish Academy of Creative Writing, she graduated from the University of Copenhagen with a degree in philosophy and literature. Her serious intellectual background manifests itself in her 'not-for-everyone' works — exclusive, intellectual, conceptual, philosophical — all this despite the fact that Balle in her perception of reality is a lyricist, who clearly appreciates the poetry of the moment. Her literary works are always limited in volume and meticulously crafted in terms of language. Eight years later, in , a symmetrical answer entitled 'Or' appeared. These very remarkable books, both early works by Balle, represent in fact a hybrid literary form while being true and most complete embodiments of the very principle of fragmentation in Danish literature. The texts also contain features conventionally associated with lyric prose. In , another 15 years later, two new and equally symmetrical books of short texts were published, entitled 'If' and 'Then' — cross-genre books, in which the same principle of fragmentation is embodied, both in terms of structure and perception of reality. Rather, they indicate a desire to renew the non-renewable, to replicate the unique. This is, to a large extent, a copy, an attempt to use the same. The books are fully symmetrical, both in text layout and visual presentation. Each of the four texts is divided into five sections or chapters. Each section consists of 12 or 24 separate passages — relatively independent pieces of text, divided in paragraphs, separated by spaces. On two separate occasions in the first book, one can speak of 11 and 10 paragraphs instead of 12, depending on the calculation method used. Each book is structured in the same way as for the number of paragraphs presented in the five sections: 12 — 12 — 12 — 24 — Thus, the penultimate — or the fourth — sections are the longest. Each paragraph has between one and ten lines, but, in general, the number of lines is between three and eight. Each book has 37 pages, including blank ones. Since the paragraphs are separated from each other by regular spaces, the pages are narrow, and the arrangement of chapters and their numbers in all books is the same. As a result, a hint of graphic design can be recognised. Each book is supplied with an epigraph to be decoded, the same principle applying to the message in the paragraphs and chapters for the true meaning of the entire book. Some paragraphs are visually divided into stanzas and look like a verse. A similar linguistic structure is preserved throughout all the four works. It includes, firstly, a high semantic density of the text. Balle herself calls these works 'prose with holes' \\\\\\[Mose, \\\\\\], meaning, apparently, a particular feature of minimalist prose, which represents 'concentrated fragments with a high degree of meaningfulness betydning-sindhold ' \\\\\\[Fibiger, Lutken, , p. Secondly, there is an endless 'stringing' of names for impersonal objects and persons, just as if the technique used by Joseph Brodsky in his poem 'Great Elegy for John Donne' was smashed into fragments and served with an intermittent partition. The books contain a series of pictures and scenes, which, in turn, contain impressions and things. Indeed, the text equates people and things, phenomena and objects. The text structure unites — or divides — everything, but it does not change the essence of things: everything is all one and the same \\\\\\[Mose, \\\\\\]. Expressed at the language level, this equation is extrapolated to the emerging picture of the world as a whole. Fourthly, as mentioned above, the texts are rather discontinuous and contain numerous repetitions, which Bunch considers a persistent characteristic of minimalist literature \\\\\\[Bunch, , p. The sentences are mostly simple and often incomplete, whereas compound sentences are of the shortest possible variety and, with very few exceptions, contain only one type of syntactic relation. Balle combines short and very short sentences, creating a feeling of discreteness within a continuous flow of ever-changing images. The paragraphs often will start and end without any connection to the previous or the next one, creating an atmosphere of anxiety, ambiguity or mystery. At the linguistic level, the continuity is maintained through repetitions of similar structures — phrases, descriptions of phenomena, images — running through the entire text: rain, a leaf rustling underfoot, etc. Images and verbal units. Events take place here and now the present and the perfect are used , there is no historical perspective. And finally, the fifth element of the linguistic structure is light, sound and colour as literary devices: sporadically scattered throughout the texts are occasional references to the sounds, the quality of light and the colour of objects. Crunching, the sound of falling, rustling, the light of lanterns, multicoloured rusty containers, and the grey-green world are not complete and full-fledged descriptions, but rather references and statements that surreptitiously affect the perception of the reader. Each section, or even each paragraph, is an independent and complete text that lacks any obvious connection with other paragraphs, let alone sections. However, all of them are subjected to a certain idea, which is reflected in the epigraph to the book. Some of the paragraphs could have been rearranged with seemingly no loss. This is a free-form composition. However, in these provided, specific sequences of new meanings are being created by capturing the discontinuous stream of consciousness. The texts as a whole are characterised by their cinematic qualities and quasi-documentary technique for reflecting objects and phenomena: on the one hand, they contain clear visual images without commentary and explicit assessment, on the other hand, there are no obvious connections between the sequences, instead we see a rapid shifting of 'frames', a rough linking of fragments. Tynianov \\\\\\[Tynianov, \\\\\\]. Balle is a poet of mood. The atmosphere is conjured, among others, by exploiting cross-cutting repetitive motifs associated with natural. Even eroticism in the text is neutered. Gaps are yet another device used to create a feeling of ambiguity and vagueness, as well as that of anxiety. Nor is it clear what is happening at this moment and if something is happening at all \\\\\\[Balle, , p. The episode ends with a dispassionate flight of wet newspapers, packages and soggy cardboard Vade aviser, poser og opl0st karton , which through a simple enumeration are equated with human lives and feelings. In the fifth section, the motive of death reappears: targets sigtemxrker are drawn on the clothes of the faceless characters, and it is unclear whether this is a game or a verdict. This is the poetry of a dead world filled with shadows. The rather intense experience of the first two books is somewhat weakened in the latter two, 'If' and 'Then'. Firstly, the paragraphs are less variable in size, which forms a sense of monotony and predictability. Secondly, basically the same patterns are used as in the first two books. Thirdly, a certain historical past arises, which means a latent strengthening of narrative. Finally, subtle expressions of social criticism bureaucrats — a negatively loaded word, journalists to beware of, as well as the opposition of natural and social phenomena appear in the books have a jarring effect on the poetic beauty of the texts. The differences are balanced by the perpetual motion of life, symbolised by the river. All four books are a free-form composition, a kaleidoscope of emotionally loaded images, fragmentary impressions, 'fragments of text and life' \\\\\\[Pedersen, \\\\\\], peculiar to literary minimalism as a whole. Different facets of a single reality are reflected in the shards, someone holds the 'shard mirror' and verbalises the reflections, yet in the wrong order, so that the old connections erode away and new and unexpected ones arise because of the shifts due to wrong combinations of these 'voiced' fragments. A high emotional tension is created with extreme spareness in a pseudo-impassive atmosphere. The emphasis on the subjective experience is carried out through deliberate objectification, whereas the atmosphere is formed through images piercingly naked and devoid of all that is superfluous. The reader can stick to separate passages and paragraphs or rely on the primacy of the whole, which does seem logical. A weak and disintegrating narrative is also characteristic for the texts, as well as a focused attention on the linguistic features, the syntax in particular. Bobylev B. Tynianov as an Innovative Philologist. In Russian. Bunch M. Danske Studier, K0benhavn: C. Reitzels Forlag, Daugaard S. Solvej Balle. Opdateret af cand. Vindum A. Fibiger J. Litteraturens veje. Handesten L. Dansk litteraturs historie pa lex. Published Hansen J. K0benhavn: Museum Tusculanums Forlag, Ipsen M. Norske inspirationer i dansk kortprosa. Passage, arg. Aarhus: Aarhus Universitetsforlag, Koblenkova D. Features of Danish Literary Minimalism. History of Foreign Literature in Two Parts. Part 2. Sharypina T. Moscow: Iurait Publ. Korovin A. Scandinavian Philology. Issue Mose G. Oslo: Gyldendal Norsk Forlag. Orlitskii, Iu. Poetry and Prose in Russian Literature. Pedersen K. Changing Landscape. Pimonov V. The Variety of Rounded Forms. Voprosy literatury, Issue 2. Saltykov A. Scandinavian Philology, Issue Skjeldal K. Det voksne barn ma have et navn — punktroman er godt og mis-visende. Den bla port, 36, Tynianov Iu. The Problem of Poetic Language. Leningrad: Academia Publ. Московский государственный институт международных отношений университет Министерства иностранных дел РФ. Для цитирования: Orlova G. Творчество Балле рассматривается в контексте развития датской литературы соответствующего периода с акцентом на минима-листической эстетике и ее истоках. Сольвай Балле — представитель поколения писателей, с которым связан расцвет минимализма в датской литературе конца ХХ в. Балле — автор немногих произведений, разнообразных по жанру и форме. Характерные устойчивые черты всех произведений писателя — интеллектуальная элитарность и отточенная, рафинированная форма. Все ее работы экспериментальны, однако квинтэссенцией жанрового эксперимента в рамках минималистской эстетики стали короткие тексты «тетралогии». В статье рассмотрены особенности формальной организации четырех текстов Балле, в том числе их языковой структуры, позволяющие говорить о пограничной жанровой природе произведений, а именно о контаминации жанровых признаков пункт-романа «точечного романа» и поэмы в прозе. Ключевые слова: современная датская литература, Сольвай Балле, минимализм, пунктроман, жанровый эксперимент, лирическая проза, стихотворение в прозе, фрагментарность. Московский государственный институт международных отношений университет Министерства иностранных дел РФ, Российская Федерация, , Москва, пр. Вернадского, 76 E-mail: gajane-orlova yandex. CC BY. Вы всегда можете отключить рекламу. Ключевые слова. Emmets and emotions: reflections on the first cycle of A. Nibelungs on the margins: transformation of the Nibelungen legend in the folklore of German-Scandinavian frontier. Попробуйте сервис подбора литературы. Пользовательское соглашение Политика конфиденциальности.

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