Abstract
Astrid Lindgren’s Pippi Longstocking, designed as a radically subversive character, is the antichild. Given power and independence, she discloses culture-defined relations between children and adults and promotes a sentiment-free commentary that highlights the inherent status of inequality in these relations and the resulting oppression. Placed by the author at the top of the hierarchy, she subverts this oppression: all of a sudden, now it is adults that are exposed to the activities of the unpredictable, rollicking, carnivalesque girl. The result of this narrative device is laced with the intense, insolvable conflict of two antagonistic tribes: children and adults. In this war, Pippi plays a leading role. She is the heroine of the marginalized space of the nursery.
Highlights
W kwietniu 1944 roku Astrid Lindgren wysłała pierwszą wersję manuskryptu Pippi Långstrump do wydawnictwa Bonniers
promotes a sentiment-free commentary that highlights the inherent status of inequality in these relations
it is adults that are exposed to the activities
Summary
W kwietniu 1944 roku Astrid Lindgren wysłała pierwszą wersję manuskryptu Pippi Långstrump do wydawnictwa Bonniers. Edström interpretuje odniesienia do Ani z Zielonego Wzgórza rozsiane w tekście trylogii w kategoriach ironii i parodii, podkreślając, że Pippi można czytać jako karykaturę bohaterki tradycyjnej powieści dla dziewcząt, „gdzie najgorsze, co mogło takową spotkać, sprowadzało się do piegów i rudych włosów” (Edström 1992: 88).
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