Stefan Iversen

Per Krogh Hansen

Henrik Skov Nielsen

Rolf Reitan

From its beginnings narratology has incorporated a communicative model of literary narratives, considering these as simulations of natural, oral acts of communication. This approach, however, has had some problems with accounting for the strangeness and anomalies of modern and postmodern narratives. As many skeptics have shown, not even classical realism conforms to the standard set by oral or ‘natural’ storytelling. Thus, an urge to confront narratology with the difficult task of reconsidering a most basic premise in its theoretical and analytical endeavors has, for some time, been undeniable. During the 2000s, Nordic narratologists have been among the most active and insistent critics of the communicative model. They share a marked skepticism towards the idea of using ‘natural’ narratives as a model for understanding and interpreting all kinds of narratives, and for all of them, the distinction of fiction is of vital importance. This anthology presents a collection of new articles that deal with strange narratives, narratives of the strange, or, more generally, with the strangeness of fiction, and even with some strange aspects of narratology.

Strange Voices in Narrative Fiction

Alle litterAere tekster har en fortAeller, som ikke er identisk med forfatteren; det blev slaet fast som en ubestridelig lov, da narratologien opstod i slutningen af 1960'erne. FortAellerfiktionen undersoger, hvordan myten om fortAelleren blev til - og giver et detaljeret billede af, hvordan den blev bade forvandlet og befAestet i Gerard Genettes skelsAettende fortAelleteori.Denne bogs kritiske nAeranalyse af Genettes Discours du recit (1972) og Nouveau discours du recit (1983) viser, hvordan den franske teoretiker loser og forenkler en rAekke centrale problemer i traditionel fortAelleteori. IsAer med termen fokalisering leverer han et redskab til analyse af de mader, hvorpa den fortalte verdens synsvinkler arbejder i fortAellende tekster.Men fokaliseringsbegrebet viser sig ogsa at vAere det punkt, hvorudfra nye teorier ma fortsAette. FortAellefiktionen udpeger og diskuterer de vigtigste nye sporgsmal: Hvordan ved vi, at det er fortAelleren og ikke forfatteren, der anvender fokalisering? Er det egentlig sikkert, at alle tekster har en fortAeller? Og hvad betyder det for tekstens karakter af fiktion?

Rolf Reitan

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