Mellan sanning och lögn

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Oxfeldt, Elisabeth: ”Orientaliske rejseskildringer” i Ståle Dingstad (red.): Den litterære Hamsun (2005) s. 105 - 123 Stounbjerg, Per: Uro og urenhed - Studier i Srindbergs selvbiografiske prosa, Danmark, Århus universitetsforlag, 2005 Stray, Sigrid: Min klient Knut Hamsun, Oslo, Ascheschoug, 1979 Stuberg, Tore: Hamsun, Hitler og pressen. Knut Hamsun i norsk offentlighet 1945-1955, Oslo, Leseselskapet, 1995 Tigerstedt, Christoffer, Roos, J.P/ Vilkko, Anni (red): Självbiografi, Kultur, Liv- Levnadshistoriska studier inom human -<strong>och</strong> samhällsvetenskap, Stockholm, Symposium, 1992 Andra källor: ”Sannheten om Hamsun er…” i Morgenbladet 22/5 2009 http://morgenbladet.no/apps/pbcs.dll/article?AID=/20090522/ODEBATT/940682086 sist sedd 5/11 2009 Furuby, Jan Gunnar/Christiansen, Ann/Bekke Eidern, Åshild:”Ingen vill sponsra Hamsun” i Aftenposten 09.01.2009 www.aftenposten.no/kul_und/litteratur/article2858768.ece sist sedd 30/12 2009 Melberg, Arne: ”Hamsun <strong>och</strong> det norska problemet” i Svenska Dagbladet 4/8 2009 http://www.nb.no/hamsun Nationalencyklopedin bind. 7, Tyskland, 2009 104
Summary På gjengrodde stier (1949) has been regarded as an autobiographical work and as a defence of Knut Hamsun’s actions during the World War II. In this study my main interest has been to examine the work from another angle by focusing on underlying analogical patterns, themes and textual strategies through the work. As my study show, these patterns can be recognised as a part of Hamsun’s earlier authorship. The paths Hamsun has treaded, he treads again. From a new life-situation Hamsun replaces earlier versions of life into new constellations. A typical symbolic figure in Hamsun’s authorship is the wanderer (vandraren) who appeared already in Hamsun’s writings from the early 1890’ies. By pointing out similarities between Hamsun’s last work and his travel writing I Æventyrland (1903), I have shown that the wanderer-figure also is present in Hamsun’s last work. Just like I Æventyrland, På gjengrodde stier can be characterized as a work of both fiction and autobiography. They are both auto fictional. Hamsun challenges our traditional assumptions of how the subject makes meaning of one’s life by giving us a new view of what role fiction and fantasy plays in the interpretation of oneself. He insists in representing his contradictive self by deliberately making the boundary between fiction and autobiography ambiguous. By challenging the dominating regimes and traditional forms of autobiographical writing Hamsun proclaims a wider understanding of the concept of autobiography. Hamsun shows us that genres are not static bound categories but are in a dynamic relationship with historical and cultural development. Thus, Hamsun makes himself spokesman for an expanding concept of genre. Hamsun opens a dialogue in different forms of conventional separate self-representations forms: diary, self-portrait, memoires, travel writings, fiction and apology of the self. The focus on the individual self in autobiographical writing is due to an assumption that it is possible to translate life into writing. The horizons of expectations of the autobiographical genre I have described by referring to Philippe Lejeune, who describes the genre in the tradition from Rousseau as a narrative written by a real person with a focus on his individual self, in particular the story of his personality. In this study however, I have focused on the autobiographical field from a modernistic perspective. The loss of traditions and the crisis in representation of the self is an important motive for autobiographical representations and has contributed to a strong will for innovation of the genre. Therefore, defining autobiography as a genre has been difficult during the modern 105
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Mellan sanning och lögn En studie
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Inledning Det har vore viktig for m
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sympatisera med den fascistiska ide
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ståndpunkter dels vad gäller syne
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Hamsuns författarperiod från seke
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kringflackande liv och den socialkr
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Hamsun efter krigsslutet Det er en
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uppmärksammade att Hamsun inte had
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skriftliga förhören pågick ca en
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Hamsun kritiserar i efterhand skarp
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Helt fra Forhørsdommeren har jeg e
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Efter rättsförhandlingarna, som s
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att han var gammal och senil; en f
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under den treåriga processen mot H
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detta att Hamsun presenterar sig sj
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I sin artikel ”Genrebegrepp”dis
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selvbiografi, fremfor alt et defens
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discussions, which can have such po
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etraktar de upplevda i förhålland
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sättet Rousseau gör. Inte heller
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Faktionskontraktet innebär en utvi
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slags tidningsföljetonger och böc
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med polisen och med mannen som han
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Jeg kom ind i en overfyldt jernbane
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På sykehuset blev jeg spurt av en
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pojke som han hänvänder sig till,
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tidsbundet narrativt förlopp, i de
Page 55 and 56: mellan fiktion och fakta. Genom par
Page 57 and 58: Kittang hävdar i sin bok att vandr
Page 59 and 60: Som det framgår av det ovanståend
Page 61 and 62: genom att de utformar sig kring en
Page 63 and 64: Men så kommer han plötsligt på s
Page 65 and 66: later som det er om å gjøre for m
Page 67 and 68: motsatsförhållande till de tradit
Page 69 and 70: Hamsuns kritiska inställning mot d
Page 71 and 72: avståndet mellan det skrivande och
Page 73 and 74: Detta att Hamsun säger att han fö
Page 75 and 76: Hamsun till Hitler. 309 Gimnes säg
Page 77 and 78: Av citatet framgår det vilken bety
Page 79 and 80: psykologiska procedurer. Till följ
Page 81 and 82: att de ”varsomme ord” inte har
Page 83 and 84: moderniteten - ”tapet av den orga
Page 85 and 86: arndom. Ett annat topos i det nyss
Page 87 and 88: le. Dette gjorde ikke længer noget
Page 89 and 90: för ersättningsdirektoratet Odd V
Page 91 and 92: ingen sa meg at det var galt det je
Page 93 and 94: försvartalet har vi sett hur Hamsu
Page 95 and 96: och att han bär skorna över axeln
Page 97 and 98: Han er som han var forrige gang. Al
Page 99 and 100: förhållandet mellan liv och skrif
Page 101 and 102: traditionella uppfattningar om hur
Page 103 and 104: Litteraturförteckning Andersen, Br
Page 105: Kittang, Atle/ Linneberg, Arild/Mel
Page 109: 107
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