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This article examines Knut Hamsun's reactions to the new uses of proper names at the end of the nineteenth century, including the commercial use of celebrity names and trademarks. The topic is studied on three interrelated levels: Hamsun's hostile reaction to the modern advertising industry; his attempts to create a famous name for himself; and finally, his literary representation of these themes in his early work. The advertised name points to a threatening distance between private individual and public persona that raises questions about the possibility to express or communicate authentic identity. This tension is studied in "På turné," which revolves around the launching of the author's name "Hamsun," and in Mysterier , where the meaning of names as well as the novel's modernist narrative form are intimately linked to Hamsun's experiences of the emerging practices of advertising and branding. [ABSTRACT FROM AUTHOR]

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Most critical studies on John Fante tend to insist exclusively on his Italianness putting into evidence his biographical experiences and Italian roots at the expense of the complex literary inheritance underlying his vocation. Through a reading of Ask the Dust, the present paper intends to propose a portrayal of the author as an authentically American voice who was fully aware of the great novelistic tradition that shaped his literary sensibility. At the same time, Fante's discovery of the novels of the Norwegian author Knut Hamsun, through the suggestion of the independent literary agent Elizabeth Nowell, shows how his development was based on a variety of influences that went beyond Italian literature and culture. Thus, Fante's indisputable originality lies precisely in his wide-raging vision and capacity to embrace diverse languages and cultures. [ABSTRACT FROM AUTHOR]

The article examines similarities between ”Glahns død. Et papir fra 1861”, i.e., the second part of Knut Hamsun’s novel Pan (1894), and Joseph Conrad’s novel Heart of Darkness (1899). The comparative analysis demonstrates that the two texts have several common features both in terms of setting, thematic aspects and narrative technique. Both ”Glahns død” and Heart of Darkness take as a point of departure a riverboat journey into the jungle. Both texts thematize the differences between the European civilization and the “uncivilized” exotic world and focus on the contrasts between the civilized and the primitive life, the rational and the irrational behavior. Both stories are narrated by a male narrator personality that is strongly fascinated by another man, and in each case the text involves a partially unreliable witness type of narrator. The article describes some of these common features as modernist and confirms the position of both novels in early modernism. [ABSTRACT FROM AUTHOR]

In 1920, the Norwegian novelist Knut Hamsun won the Nobel Prize for literature for his novel Markens grøde (Growth of the Soil) (1917). This article explores some of the key contexts for this work, highlighting the author's own ambitions, the reasons why he sided with Germany during the war, and his generally völkisch perspectives on the Germanic and Nordic. It furthermore analyses the early reception of this World War I novel, and how it was first subjected to a number of positive readings and seen as an example of idealism, before being appropriated by Nazism. [ABSTRACT FROM AUTHOR]

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Copyright of Romanian Journal for Baltic & Nordic Studies/Revista Romana de Studii Baltice si Nordice is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1935 Ma armastasin sakslast (I Loved a German) was published. In 1928 Victoria (1898) by Knut Hamsun (1859-1952) was published in Estonian. The first was written and the second translated by A. H. Tammsaare (1878-1940). Parallels between these two authors have been most often discussed in connection with Pan (1894) and Kõrboja peremees (The Master of Kõrboja, 1922). Both authors have earned their canonical position in literature thanks to the novels Markens Grøde (Growth of the Soil) (1917), in the case of Hamsun, and Tõde ja õigus (Truth and Justice, I-V, 1926-1933) in the case of Tammsaare. These novels have been "sorted out" to be included in the canon, while Ma armastasin sakslast and Victoria have not received as much attention. In both novels love is the central theme - in Hamsun's novel the main characters are the miller's son Johannes and the landlord's daughter Victoria, and in Tammsaare's novel the student Oskar and a baron's grand daughter, Erika. This article examines the connections between Hamsun and Tammsaare by analysing the novels Victoria and Ma armastasin sakslast, discussing among others the motive that has been widely used in world literature, namely the (archetypical) story of lovers - Romeo and Juliet by Shakespeare. Both novels can be considered as variations on that motive as Tammsaare, for example, adds the social aspect, so that the archetypical love story set in the Republic of Estonia enables him to discuss topics essential to him. In the article the main emphasis is on Tammsaare's novel. [ABSTRACT FROM AUTHOR]

This article compares models of authorship presented in Knut Hamsun’s Sult (1890) against the novel itself. It argues that the experiencing narrator’s aspirant authorship is inhibited by psychological anxiety, created by the conflicting models of authorship presented in the novel: the extremely authoritarian, omnipotent, even tyrannical creative power to which the narrator himself aspires on the one hand, and an exclusively monetary valuation of writing work, that of the city around him, on the other. This conflict of authorial models which blocks the experiencing narrator’s writing efforts is undermined by the text itself, which suggests an authorship atomized by anxiety, where the experiencing narrator’s selective, anxious thinking, his body and the city together generate the text. [ABSTRACT FROM AUTHOR]

Copyright of Revue Verlaine is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the essay "Sjelens Amerika" ["The America of the Soul"], Karl Ove Knausgård claims that the reason why we still perceive Knut Hamsun's novels as fresh and present is because they display our own modern world in its very creation, at a time when it was full of "the power of the unfinished" and not yet stiffened in accomplished systems. In this article, I argue that the idea of "the power of the unfinished" is an aesthetic category describing the core of a poetics common to Knausgård and Hamsun. [ABSTRACT FROM AUTHOR]

This article discusses the play The Old Nazi: The Tragedy of a Genius, written by the Czech journalist Martin Komárek and staged in Prague in 2010/2011. It presents both the formal and the thematic aspects of the drama and argues that this unique text deserves to be known outside of the Czech Republic. Komárek made himself familiar with various information about Hamsun's life, but this did not curb his imagination; his play works very well as theater. The drama contains many fictitious events and dialogues, yet at the same time, it does not distort in any major way the historical image of Hamsun. The play is thus well balanced and provides a very good basis for potentially successful theater productions. [ABSTRACT FROM AUTHOR]

This article uses a regional perspective to compare the novels of Lars Berg with Knut Hamsun's novels set in northern Norway. What characterizes the northern Norwegian storytelling tradition, and is it possible to define it? In order to close in on this concept, this article focuses on certain aspects of setting, including: fishery, trade, language, and character. [ABSTRACT FROM AUTHOR]

This article examines Hamsun's The Ring is Closed (1936) through the lens of modernity and modernism. A common notion has been that The Ring is Closed is an exception from the division between an early modernist phase and a later realist phase in Hamsun's oeuvre. This article argues that Hamsun deals with modernity in a fundamentally different way in 1936 than he did in the 1890s. Today we should be able to see Abel Brodersen's fatalism, cynicism, and lack of drive as an expression of 1930s modernism. What are the characteristics of such modernism? To which of his contemporary modernist characters can we compare Abel Brodersen? What literary techniques does Hamsun employ, and how can we characterize the language and the narrative structure? How does the modernist Hamsun in 1936 compare to Hamsun in 1890? These are some of the questions posed in this article. [ABSTRACT FROM AUTHOR]

Often when the theme of Hamsun and the Sami is discussed, the focus is on the nation building structures and negative generalizations contained in Growth of the Soil (1917). Hamsun's earlier novel Pan (1894) is sometimes mentioned in passing as an example of a more positive or neutral attitude towards the Sami. This essay adds some nuance to this narrative by examining the motif of the Sami in Pan with a line drawn to the novel Rosa (1908). The presence of the Sami is limited in Pan. Hamsun relegates them to the relatively inhospitable mountains surrounding the coastal village of Sirilund. When they do appear, Glahn's interactions with the Sami play an interesting part in the story of the porous identity of this narrating main character. In Rosa, which like Pan is set in Sirilund, Edvarda remembers Glahn, and she makes a symbolic link between his sexual power and the Sami. Later, in what is for Hamsun an uncharacteristically sexually explicit scene between Edvarda and the Sami character Gilbert Lap, we can find an echo of the famous scene from Pan where the goat god makes his only appearance, mocking Glahn through silent laughter. [ABSTRACT FROM AUTHOR]

Knut Hamsun's Hunger (1890, Sult) is nowadays often regarded as one of the first Scandinavian, or even European, modernist novels. However, some have also classified it as naturalist. The author of the article claims that the text does contain some naturalist elements, but this alone is not a sufficient argument for considering the novel to be naturalist as a whole. The article offers several arguments as to why it is inappropriate to designate Hunger as a naturalist work and supports those readings of the novel that see it as representing a modernist break with realist and naturalist aesthetics. [ABSTRACT FROM AUTHOR]

Knut Hamsun's polemic about the Norwegian Nansen cult round 1889 (on the occasion of Fridtjof Nansen's ski crossing of Greenland), which he published in a newspaper article titled "Meditations on Nansen" ("Nansen-Betragtninger"), was mainly directed against the public enthusiasm for sportive records as a typical modern trend, whose pointless absurdity Hamsun shows in an incisive and specifically provocative way. His critique is primarily aimed at a kind of hero worship that in his opinion is out of all proportion to the uselessness of the expedition's results. Thus, "a daredevil, well finished adventure, a breakneck act, a sports affair, a lucky strike," as he outlines Nansen's venture, becomes the basis for a mass hysteria whose driving forces are invested in the signatures of modernity. The fascination of crossing the line and of extreme forms of progress in "both sports and science", their entanglement as an example for the "proliferation of hybrids" (Latour 1993), and the contingent dimension of success stories are symptoms of modernity that Hamsun is polemically engaged with. In conclusion, I investigate to what extent Hamsun ironically refers to these symptoms in his novel Editor Lynge (Redakteur Lynge, 1893). My argument is supported by the assumption that Hamsun's vehement denunciation of such tendencies is owed to the fact that he himself is embroiled in them. [ABSTRACT FROM AUTHOR]

Copyright of Romanian Journal for Baltic & Nordic Studies/Revista Romana de Studii Baltice si Nordice is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Romanian Journal for Baltic & Nordic Studies/Revista Romana de Studii Baltice si Nordice is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay examines Jean Améry's largely unknown work as a reader and literary critic, focusing in particular on his engagement with Thomas Mann and Knut Hamsun as part of a project in which Améry sought to “reread”—Wiederlesen—a series of literary texts that had shaped his identity and self-understanding before the advent of German Fascism. The literary essays that resulted from this project illuminate the centrality of literature for Améry's thinking and writing and bring into focus the subjective, historical, and dialogic dimensions of a critical reading practice that went against the grain of then-contemporary interpretive trends. Conceived as an intervention in literary history, thisWiederlesenaimed to rescue forgotten books by highlighting their relevance in and for the present; at the same time, it would serve as a means to self-reflection for a reader whose subjectivity had been irreparably damaged by the experience of the Shoah. [ABSTRACT FROM AUTHOR]

This article uses as a case study the historical-biographical drama film Hamsun (1996) in order to discuss the complications that arise when considering biographical films as adaptations of biographical and/or autobiographical works of literature. Hamsun by the Swedish director Jan Troell is an adaptation of the Danish author Thorkild Hansen's documentary novel Processen mod Hamsun (The Trial of Hamsun, 1978), which in turn draws most extensively on the Norwegian novelist Knut Hamsun's own writings, primarily his autobiographical novel Paa gjengrodde Stier (On Overgrown Paths, 1949). Hansen, in telling the story of Hamsun's life, concentrates on the events surrounding the Second World War and its aftermath in Norway. The focus is set on the court trial of 1945-1948 when Hamsun was accused of being a quisling and his mental state was seriously questioned not only by the court, but also the general public. Hansen in his novel interprets his extensive source material with a very clear intention of rehabilitating Hamsun as a great writer with a brilliant mind instead of considering him a traitor. It is Hamsun's own perspective in Paa gjengrodde Stier that clearly lays the groundwork for Hansen's portrait of the writer. However, Hamsun's account of events is most selective: his often sharp and ironic descriptions of the present are combined with lyrical and philosophical reminiscences of the past, hardly providing the reader with any answers or explanations. The character Hamsun in Paa gjengrodde Stier seems to be a rather carefully constructed figure whose primary intent is to evoke the reader's sympathy and to remind us of his status as a writer, an artist. The director Troell has said in several interviews that it was very important for him to use Hansen's book as source material, but that he and his screenwriter Per Olov Enquist have included many other sources, among them Hamsun's own Paa gjengrodde Stier. Viewing the film as an adaptation of Hansen's book, one easily recognizes the connections to Hamsun's own writings. An interesting question is whether or how the main character differs in each above-mentioned text. Naturally, the longer the period of time that separates the source material from the film adaptation, the more significant a role the changes that have occurred over time in social, political and ethical values play in our interpretation of depicted events. Hansen's portrayal of Hamsun was very original and controversial in its time. However, the release of the film Hamsun to an international audience in 1996 reopened the debate of "Hamsun's guilt". Troell chose to focus on the drama of Hamsun's personal life through the war and its after-effects. The image of an artist instead of a collaborator - similar to what Hamsun created of himself on the pages of Paa gjengrodde Stier - prevails in both the novel and its film adaptation. [ABSTRACT FROM AUTHOR]

The aim of this Student short subject is to establish that Henning Carlsen in Sult/Hunger (1966) attempts to express the emotional state and mental condition of the protagonist and thereby continues the tendency of the European cinema to transcend the limitations of the film medium. [ABSTRACT FROM AUTHOR]

Copyright of Literatura Mexicana is the property of Instituto de Investigaciones Filologicas - UNAM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims at clarifying the reasons leading to the transformation of the banality of evil into a politics of revanchism exerted upon intellectuals who have supported National Socialist ideas during the Second World War. An illuminative example showing the implementation of the aforementioned politics is the Norwegian Nobel Laureate in literature, Knut Hamsun, who is treated like a criminal taking part in the fascist genocide and sentenced to pay huge compensation only because he has been writing articles in favor of the National Socialist ideology. In this context, we try to bring to light the contradictions arising from the question how due to the politics of revanchism Hamsun is treated against his will like a mentally sick person, deprived of the right to get a just sentence as a human being responsible for his own actions. [ABSTRACT FROM AUTHOR]

The article focuses on the authorship and political ideology of Norwegian author Knut Hamsun. It states that Hamsun's polemical attacks on the cultural life of the U.S. in 1889 and his postwar memoir "På gjengrodde stier" are ideological bookends for Hamsun's writings. It mentions that Hamsun's relationship to the social, political, urban, and technological senses of 'modernity' was reactionary. It comments that Hamsun was an unrepentant believer in political ideals he held in common with the hierarchy of the Third Reich and mentions that Hamsun considered himself a political prisoner in postwar Norway.

The article discusses the novel "Pan: Af Løjtnant Thomas Glahns Papirer" by Knut Hamson and its protagonist Lieutenant Thomas Glahn, a tourist. It discusses the colonialist implications of Hamsun's focus on tourism, noting the sexual economy of the narrative. The article refers to commentary on tourists and colonialism in literature by John Urry and Robert J. C. Young, respectively. It notes that Glahn's residence in the so-called heterotopia of a cabin enables him to express a tourist gaze and fantasize about colonial and sexual domination.