Stefan Iversen

Danske fortAellinger fra tyske koncentrationslejre

Vidnesbyrd

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

SNdan k(c)rte vi i tre dage og tre n tter, uden at de Nbnede d(c)rene. Nogle blev syge, og enkelte d(c)de, sN det var n sten en befrielse, da toget standsede, og d(c)rene blev Nbnet, hvor vi fik frisk luft. Vi fik at vide, at det var Polen, og at det var i n rheden af Auschwitz. Det var m(c)rkt, vi kunne ikke se. Der var en blanding af sne og mudder pN jorden, og vi skulle ud. 'Schnell, schnell', det var de ord, vi h(c)rte hele tiden.Jeg har aldrig fortalt den historie, jeg her har fortalt, til nogen.Der er i dag kun fN overlevende fra 2. Verdenskrigs lejre. Denne bog indeholder syv danske fangers fort llinger om deres tid i nazitysklands koncentrations- og udryddelseslejre. Vidnerne fort ller om liv og d(c)d og om h ndelser, der har fulgt dem resten af deres liv. Bogen samler de enestNende fort llinger til et kollektivt vidnesbyrd om ubegribelige begivenheder, som fortsat ikke mN glemmes."

Louise Brix Jacobsen

Jan Alber

Rikke Andersen Kraglund

Camilla Mohring Reestorff

This book presents new ways of thinking about the historical, epistemological and institutional role of literature, and aims at providing a theoretically well-founded basis for what might otherwise be considered a relatively unfounded historical fact, i.e. that both literature and the teaching of literature hold a privileged position in many educational institutions. The contributors take their point of departure in the title of the volume and use narratological, historical, cognitive, rhetorical, postcolonial and political frameworks to pursue two separate but not necessarily related questions: Why literature? and, Why study? This collection brings together theoretical studies and critical analyses on literature as a medium among, and compared to, other media and includes essays on the physical and mental geography of literature, focusing on the consequences and values of its reading and studying.

Why Study Literature?

Spøgelser, gengangere, galninge og lystmordere befolker Johannes V. Jensens forfatterskab. De lever i geografiske, sociale og mentale udkanter, og de lever i mærkværdige hybridgenrer, hvor udefinerbare og besværgende stemmer taler på måder, som ryster fortællingernes personer og læseren. Noget taler, som burde tie. Det opleves som uhyggeligt. Johannes V. Jensens tidlige tekster fra tiden omkring år 1900 sætter sig i struben og giver et kropsligt ubehag. De er på én gang underligt dragende og frastødende. Den uhyggelige fortælling. Unaturlig narratologi og Johannes V. Jensens tidlige forfatterskab undersøger de grænseerfaringer, der hjemsøger Jensens fortællinger, i forsøget på at forstå, hvordan de både handler om og spreder en særlig form for uhygge. Bogen fører læseren ind i Jensens eksperimenterende, korte prosaformer såvel som i kanoniserede tekster som Kongens Fald og Madame D'Ora.

Stefan Iversen

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