Å gi faen og si det som det er - Aarhus Universitet

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with a minimum demand of producing first five then ten pages a day. In interviews given between volume five and the still unpublished volume six the framing of My Struggle as barrier-breaking and uncompromising in its honesty still dominates. Furthermore, this period illustrates how the novel is also a literary media event – a performance – that has the ability to include its readers. It is an interesting and important point that this framing is supported and elaborated by some parts of the novel; but contradicted by others. The self-declared transparency and fusion of life and literature are brought forth by reality effects and fictionality. The many references to reality (to Knausgård’s own life, family, etc.) and ’quotations’ from real life (e.g. details, direct speech, notes, email, etc.) make My Struggle appear as though it is real. Side by side with these reality effects – and in fact sometimes as the generator of them – the novel also uses fictionality. The analysis shows that fictionality is embedded in the plot/story (especially in volume two), the many accurate details, in dialoges, thoughts and actions from the past and in the novel’s account of its own creation. And in a broader sense also in its inclusion of essayistic reflections on literature and art. These reflections also demonstrate Knausgård’s own ideal of literature which I describe as metaphysical because he connects writing (and reading) literature with an unexplainable joy and an important emotional and physical experience. In a number of cases My Struggle actually generates these feelings. Knausgård reports about extremely private, embarrasing or shameful episodes from his life, and these descriptions have an emotional and physical effect on the reader. The analysis thus demonstrates that reality effects and fictionality co-operate in My Struggle in producing authenticity and reliability. The discussion of two alternative approaches to Knausgård shows how they focus on either the authentic and true aspect (reality) or the constructed and performative aspect (fiction) and therefore miss the fundamental ambiguity in My Struggle. This thesis demonstrates that it is characteristic that the novel uses elements from both reality and fiction in a paradoxical combination that is neither ’true’ autobiography nor ’false’ fiction. Instead the sincerity, reliability and authenticity are performative, literary products created by both reality effects and fictionality. 82
LITTERATUR Barthes, Roland 2004a [1968] ‚Virkelighedseffekten‛, in: Barthes, Roland, Forfatterens død og andre essays, Gyldendals Bogklubber, København, 161- 173. 2004b [1968] ‛Forfatterens død‛, in: Barthes, Roland, Forfatterens død og andre essays, Gyldendals Bogklubber, København, 174-183. Behrendt, Poul 2004 ‚Dobbeltkontrakten. En æstetisk nydannelse‛, Kritik 168/169, 46-64. 2006 ”Dobbeltkontrakten‛, in: Behrendt, Poul, Dobbeltkontrakten. En æstetisk nydannelse, Gyldendal, København, 9-63. 2010 ‛Dobbeltkontrakten didaktisk anvendt –førstegangslæseren i kunst, kritik og klasserum‛, in: Fogt, Jan og Thomas Thurah (eds.), Ny litteraturdidaktik, Gyldendal, København, 54-80. Bolter, Jay David & Richard Grusin 2000 [1999] Remediation. Understanding New Media, The MIT Press, Cambridge Massachusetts. Bolter, Jay David 2007 ‚Digital Essentialism and the mediation of the real‛, in: Qvortrup, Lars og Heidi Philipsen (eds.), Moving Media Studies. Remediation Revisited, Samfundslitteratur Press, Fredriksberg, 195-210. Burke, Sean 1998 [1992] The Death and Return of the Author, Edinburgh University Press, Edinburgh. de Man, Paul 2004 [1979] ‚Selvbiografi som de-facement‛, in: Iversen, Stefan et al. (eds.), Dekonstruktion, Aarhus Universitetsforlag, Århus, 97- 115. Doubrovsky, Serge 1993 [1988] ‚Autobiography/Truth/Psychoanalysis‛, Genre 26, 27-42. Fischer-Lichte, Erika 2006 ‛Begrundelse for det performatives æstetik‛, Peripeti nr. 6, 5- 20. 2008 The transformative power of performance. A new aesthetics, Routledge, London & New York. 83
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”Å GI FAEN OG SI DET SOM DET ER
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KAPITEL KAPITEL 1: INDLEDNING Skapt
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Min Kamps paradoksale forhold til o
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dem og deres forhold, som de opleve
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1.3 VIRKELIGHEDSEFFEKTER OG FIKTION
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performance-kredsløb i forhold til
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KAPITEL 2: TEORETISK RAMME Inden fo
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performanceelementer i diverse inst
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2.2 FRA KONTRAKT TIL KONSTRUKTION -
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Derrida (Burke 1998, 15-19), der al
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Performativ biografisme betegner en
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egreber afprøves analytisk (ibid.,
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i sin virkelighedsskildring udgangs
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epræsentationen opleves som sådan
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mellem fiktion / virkelighed, bedre
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KAPITEL 3: ANALYSE Jeg tænkte denn
Page 33 and 34: ånd, der normalt binder og censure
Page 35 and 36: fra det sidste bind. På Oslo Bokfe
Page 37 and 38: værket i verden og gør det til en
Page 39 and 40: sann eller ikke-sann, var likhet‛
Page 41 and 42: forfatteren er den samme som fortæ
Page 43 and 44: (jf. afsnit 2.5). En af selvbiograf
Page 45 and 46: fortællingen sig igen frem til nyt
Page 47 and 48: (MK2, 458). I interviewet med Renbe
Page 49 and 50: Citatet tematiserer forholdet melle
Page 51 and 52: det samme. Hér ville han dog næpp
Page 53 and 54: Jeg har allerede diskuteret (u)muli
Page 55 and 56: de har eksisteret. Tilsyneladende.
Page 57 and 58: mennesker og liv som emne og forsø
Page 59 and 60: ikke varmt og fortærende, men kald
Page 61 and 62: virkelighedseffekter og fiktionalit
Page 63 and 64: skrive noget stort. Stoffets konkre
Page 65 and 66: selviscenesatte død (ibid., 81). H
Page 67 and 68: også en anonymisering af byen Fjor
Page 69 and 70: Heroverfor vil jeg imidlertid indve
Page 71 and 72: interessant, at den forklaring Knau
Page 73 and 74: skulle have en affære med en elev
Page 75 and 76: virkeligt liv i en roman. Ville Kna
Page 77 and 78: linje med andre (som fx virkelighed
Page 79 and 80: overvejelser om døden, kunst, samt
Page 81 and 82: er brugen af fiktionalitet mere iø
Page 83: ABSTRACT The somewhat surprising st
Page 87 and 88: Jerslev, Anne 2000 ‛Nu’ets affe
Page 89 and 90: Stounbjerg, Per 2002 ‛Tilforladel
Page 91 and 92: Gundersen, Håkon (interview med Kn
Page 93 and 94: Norheim, Martha 2009 ‛Knausgård
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