ABSTRACT After the waning of reading aloud by the end of the 18th century and other changes in reading practices, Romanticism developed a nostalgic interest in recreating and rendering the oral dimension of literature. How to render the voice graphically became an important issue, and this involved punctuation to a great extent. The issue was treated in various ways which this article aims at clarifying. It does so by focusing on two Swedish authors, Anna Maria Lenngren (1754–1817) and Carl Jonas Love Almqvist (1793–1866). The former was, by punctuation, remoulded in transmission after her death. The latter was highly sensitive to punctuation in both theory and practice. His deliberations on the subject are followed so as to demonstrate how he founded his practices both aesthetically and historically. While he shared the will to achieve a natural, oral tone in literature with contemporary authors such as Fredrika Bremer, he drew very different conclusions about how that should be achieved. These conclusions affect not least punctuation, in ways that shed light also on the posthumous editing of Anna Maria Lenngren’s poems.

中文翻译：

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19 世纪谈判中的标点符号、声音和性别：两个瑞典例子

摘要 在 18 世纪末大声朗读的衰落和阅读实践的其他变化之后，浪漫主义对重新创造和渲染文学的口头维度产生了怀旧的兴趣。如何图形化地渲染声音成为一个重要的问题，这在很大程度上涉及标点符号。该问题以多种方式处理，本文旨在澄清。它通过关注两位瑞典作家安娜·玛丽亚·伦格伦（Anna Maria Lenngren，1754-1817 年）和卡尔·乔纳斯·洛夫·阿尔姆奎斯特（Carl Jonas Love Almqvist，1793-1866 年）来做到这一点。前者通过标点符号在她死后在传播中重塑。后者在理论和实践中都对标点符号高度敏感。遵循他对这个主题的思考，以展示他如何在美学和历史上建立自己的实践。虽然他分享了实现自然的愿望，在与弗雷德里卡·布雷默 (Fredrika Bremer) 等当代作家的文学口语中，他对如何实现这一目标得出了截然不同的结论。这些结论不仅影响标点符号，而且还揭示了安娜·玛丽亚·伦格伦 (Anna Maria Lenngren) 诗歌的死后编辑。