Svenn-Arve Myklebost

• Myklebost, Svenn-Arve (2025). Teaching Shakespearean comic book adaptations. Cahiers Élisabéthains: A Journal of English Renaissance Studies. ISSN 0184-7678. 118(1), s. 59–78. doi: 10.1177/01847678251386382. Fulltekst i vitenarkiv Vis sammendrag

  This article studies how graphic adaptations (such as comic books and manga) of works by William Shakespeare can be used in the teaching of English literature in various contexts, including teacher education and English as a Second Language (ESL) or English as a Foreign Language (EFL). It argues that graphic adaptations of Shakespeare have particular performative, literary, and visual qualities that make them especially well-suited to address questions about medium and genre, as well as identity, race, gender, and other such issues, in their treatments of the canon.

• Myklebost, Svenn-Arve (2024). "Eit anna eg": Ragnvald Skrede og sonettane til William Shakespeare. I Karlsen, Ole; Sandberg, Kristian Lødemel & Skjerdal, Ingrid Beate Hestvik (Red.), Steinmål og strengesong : Om Ragnvald Skredes lyrikk. Novus Forlag. ISSN 9788283901504. s. 175–197. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2023). Nynorsk and the Nordic Spirit: Henrik Rytter's Shakespeare Translations (1932–1933). I Keinänen, Nely & Sivefors, Per (Red.), Reconstructing Shakespeare in the Nordic Countries National Revival and Interwar Politics, 1870 – 1940. Bloomsbury Publishing. ISSN 9781350251274. s. 199–227. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2018). Early modern visual-verbal esoteric imagery and the theatre: Julius Caesar 1.3. Nordic Journal of English Studies (NJES). ISSN 1502-7694. 17(1), s. 3–25. doi: 10.35360/njes.421. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2016). Comic Books and Manga. I Smith, Bruce R (Red.), The Cambridge Guide to the Worlds of Shakespeare: The World's Shakespeare, 1660-Present. Cambridge University Press. ISSN 9780521113946. s. 1899–1905. doi: 10.1017/9781316137062.266. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2015). Introduction: Florence Symposium on Editing. Early Modern Culture Online (EMCO). 6, s. V–VII. Fulltekst i vitenarkiv

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• Myklebost, Svenn-Arve (2025). Shakespeare Comics: Art, Time and Character. Edinburgh University Press. ISBN 9781399546461. 272 s. Fulltekst i vitenarkiv Vis sammendrag

  Svenn-Arve Myklebost argues convincingly that Shakespeare comics constitute an impressive artform in their own right, melding elements from literature, theater, art history, architecture, film and comics themselves into an integral and resonant multi-media form. And in doing so, these comics reveal telling aspects of Shakespeare’s own art. Shakespeare’s Comics is written with crispness and lucidity, with a gracious integration of an enormous erudition, and with a bounty of original insights. It makes a significant contribution to adaptation studies, and in an emerging area. At one point, Myklebost refers to the ‘mental animation’ that the reader experiences as a well-crafted comic book seems to come alive. Something similar could be said about the experience of reading this superb study. – Kent Cartwright, University of Maryland

• Haugen, Tor Arne; Myklebost, Svenn-Arve; Helset, Stig Jarle & Brunstad, Endre Otto (2021). Språk, tekst og medvit. Cappelen Damm Akademisk. ISBN 9788202731397. 195 s. Fulltekst i vitenarkiv

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• Myklebost, Svenn-Arve (2026). AI and the crisis of the author | TLS. Fulltekst i vitenarkiv Vis sammendrag

  [This reproduces my letter to the TLS in its entirety] In his article on AI and the crisis of the author, Anchit Sathi should have been more explicit about his own use of AI. The article betrays some of the characteristics of AI-inflected style (negative parallelisms – this is not “x” but “y” – the rule of three, a tendency to make a statement followed by “That matters because …” ), suggesting that Sathi used AI at least for revision of his text, if not to produce it. It would help to know what part, if any, AI played in the writing of the article, not because I need to know exactly how the text was authored, or because I wish to chide the TLS editors for letting a possibly AI-generated text go into print, but because it fails to address the issue of how an author (such as Sathi and/or ChatGPT) writes. The text does not sufficiently account for the issue of style as expressive of an individual author’s idiom, world-picture, thematic focuses and all the other things that make up an oeuvre. In theory, the ever-evolving chatbots on the market could, with the right prompts, imitate and recombine the styles of authors living and dead, and compose writings on death, love and other “human” topics. In practice, however, what we get are masses of lowest-common-denominator texts that seem elegant and profound at first glance, but are ultimately recognizable by how little they tell us. There is an interesting discussion to be had about authors, doubt and text production, but it might need a more productive starting point. (For the record, the stylistic and intellectual shortcomings of the current text are the author’s own.)

• Mølstad, Christina Niemi; Løfblad, Åse Wedø; Brønstad, Odin Thune; Sønsthagen, Sigrun; Laski, Alona & Bergseth, Kristin Kathinka Due [Vis alle 50 forfattere av denne artikkelen] (2026). Skroting av lærernormen – basert på forskning? doi: https:/www.utdanningsnytt.no/barnehage-klasseledelse-laerernorm/skroting-av-laerernormen-basert-pa-forskning/469012?fbclid=IwY2xjawQ54sJleHRuA2FlbQIxMQBzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEe5-ESejbAANeW9iL_Yi5PFe-M92Cok76QgWJztVKEVMpy9_jpymhzgRro7ls_aem_NkB3gbl0zcVLQ8D6kE2ejQ. Fulltekst i vitenarkiv Vis sammendrag

  Forslagene om å skrote lærernormen og fjerne øremerkede midler til toppbemanning i barnehage er på kollisjonskurs med profesjonsutøvernes fortellinger om knappe ressurser, og med forskningsbidrag i feltet.

• Myklebost, Svenn-Arve (2026). Norway, Shakespeare and. I Joubin, Alexa Alice (Red.), The Palgrave Encyclopedia of Global Shakespeare. Palgrave Macmillan. ISSN 9783319993782. doi: 10.1007/978-3-319-99378-2_341-1. Fulltekst i vitenarkiv Vis sammendrag

  This entry covers the history of Shakespeare in Norway, including performance, translation, and the influence of the Shakespeare canon on Norwegian language and culture broadly speaking. It presents a historical overview followed by explorations of Shakespeare, translated, in print, and on the theatre stage, and concludes with a broad discussion of Shakespeare’s influence on Norwegian language, culture, and art.

• Myklebost, Svenn-Arve (2025). Learning from Shakespeare Comics. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2025). Comics, Manga, Graphic Novels, Shakespeare and. I Joubin, Alexa Alice (Red.), The Palgrave Encyclopedia of Global Shakespeare. Palgrave Macmillan. ISSN 9783319993782. doi: 10.1007/978-3-319-99378-2_342-1. Fulltekst i vitenarkiv Vis sammendrag

  This entry covers adaptations of Shakespeare plays in comics, used here as a collective term for comic books, graphic novels, manga, and webcomics. It discusses editions of named plays as well as more tangential treatments of the Shakespearean canon.

• Myklebost, Svenn-Arve (2025). York Conference Summary – BHSN. Fulltekst i vitenarkiv Vis sammendrag

  Report from the nineteenth BHSN meeting, York, September 10-12, 2025.

• Myklebost, Svenn-Arve (2025). New research, September 2025 – BHSN. Fulltekst i vitenarkiv Vis sammendrag

  Summary of new research by network members, September 2025.

• Myklebost, Svenn-Arve (2025). Cymbeline. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2025). As You Like It. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2025). Kjøpmannen i Venedig. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2025). Macbeth. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2025). Shakespeare Comics and Art. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2025). Stor ståhei for ingenting. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2025). John Dryden. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2024). A Midsummer Night's Dream. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2024). Traces of Greece in Shakespeare. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2024). William Shakespeare. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2024). Othello. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2024). King Lear. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2024). Hamlet. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2024). Romeo og Julie. Store Norske Leksikon (Nettutgaven). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2023). Roman Images in Shakespeare Comics. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2023). The Wife of Bath in Afterlife. Ballads to Blake. By Betsy Bowden. Journal for Eighteenth-Century Studies. ISSN 1754-0194. 46(1). doi: 10.1111/1754-0208.12881. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2022). Pictures of Past Places: Representations of History in Shakespeare Comics. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2022). "On Art and History in Shakespeare Comics". Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2021). Shakespeare, Nynorsk and the Nordic Spirit of Freedom: Henrik Rytter’s Shakespeare translations (1932-3). Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2019). The Imagination in Early Modern English Literature. Renaissance Quarterly. ISSN 0034-4338. 72(1), s. 387–388. doi: 10.1017/rqx.2018.105. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2018). Review: Katherine Eggert. Disknowledge: Literature, Alchemy, and the End of Humanism in Renaissance England. Early Modern Culture Online (EMCO). 4(1). doi: 10.15845/emco.v4i1.1509. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2018). Editorial EMCO#4. Early Modern Culture Online (EMCO). 4(1). doi: 10.15845/emco.v4i1.1514. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2018). ‘Do but look’ Adaptation and ways of seeing in King Lear. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2017). Esoteric Imagery in Julius Caesar and Julius Caesar in Esoteric Imagery. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2016). Shakespeare in the Age of Disenchantment. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve & Saunders, Timothy (2016). LiCOR: The Making of a Digital Teaching Resource. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2016). Roundtable on Teaching Shakespeare. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2016). Yates and Shakespeare Adaptation. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2016). The Art of Memory and the Memory of Art: The Aesthetics of Memory. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve & Sillars, Stuart (2015). Boklansering: Shakespeare and the Visual Imagination. [Internet]. Universitetsbiblioteket i Bergen. Fulltekst i vitenarkiv Vis sammendrag

  Intervju med Professor Stuart Sillars i høve lansering av hans nye bok på UB i Bergen. Intervjuet blei ikkje tatt opp eller transkribert.

• Myklebost, Svenn-Arve (2015). The Organist Conspiracy: Shakespeare as Treasure Map. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2015). Conspiracy and the Canon. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2014). Shakespeare in Configuration: Presentasjon av avhandlingsarbeid. Fulltekst i vitenarkiv
• Myklebost, Svenn-Arve (2014). Afterword. Early Modern Culture Online (EMCO). 5, s. 89–92. Fulltekst i vitenarkiv
• Dahl, Ellen Kristin Karlsen; Juuhl, Gudrun Kløve & Myklebost, Svenn-Arve (2018). Kven er eigentleg Smørbukk? Ein fortolkande analyse av teikneserien Smørbukk som multimodalt uttrykk for nynorsk skriftkultur. Høgskulen i Volda. Fulltekst i vitenarkiv Vis sammendrag

  I think the comic book Smørbukk can contribute to a positive sense of belonging for users of Nynorsk (New Norwegian), but then we must know more about his background. This knowledge is about to disappear and is therefore important to document. This year he is 80 years old, and it is the oldest Norwegian comic book that is still printed in new editions. Since 1938, three comic book artists, and even more writers, have created him. Therefore, I want to find out exactly who Smørbukk is, and explore how he has developed as a comic book and character through the three artists Jens R. Nilssen, Solveig Muren Sanden and Håkon Aasnes. I want to find out whether Smørbukk can be an expression of Nynorsk identity. Method: Since comic books are multimodal texts, the methods used are in an intersection between the literary and the visual. In the interpretive close reading, I have used a hermeneutic approach to be able to alternate between the part and the whole. To find out how Smørbukk has developed, I have split the comic books into three periods based on the three comic book artists. For each period, I have used hermeneutics, semiotics, comic book theory and literary analysis to interpret the visual, comic book, and narrative elements. When I have researched whether Smørbukk can have a Nynorsk identity, I have used theories within sociolinguistics and compared this to the ideals of his contemporaries, to find out to what degree the language and his identity can be said to express or represent something Nynorsk. Finally, I have summarised the findings to explore whether Smørbukk as a character or comic book is relevant to identify with. Findings: In 1941, the first period, he was in many ways innovative by using the comic book medium pedagogically; to reach more users of Nynorsk and to raise them. Both in narrative and comic book technique, he was similar to contemporary Norwegian comic books. In the second period, from 1965, he trailed behind both visually, linguistically, culturally and in terms of comic book techniques. Within narrative techniques, he developed. Stories were longer, the rising action within the story arcs improved, and his behaviour changed, which could be connected to the contemporary view of children and upbringing. In 2016, in his third period, there was a fine balance between the traditional and the modern in all ways. Smørbukk has a Nynorsk identity and can be a positive influence on identity today, as he has been before

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