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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.)

This article investigates how and why the Danish philosopher Frederik Christian Eilschov in Forsøg til en Fruentimmer-Philosophie as one of the first scientists in Denmark uses fictionality as a rhetorical strategy to communicate science. I argue that Eilschov uses both global and local fictionality to transfer scientific content from a male, Latin and scientific public to a female, Danish and literary public by mimicking rhetorical strategies prevalent in the female public. The reason for his changing rhetoric is that it among other things allows the readers to identify with a woman philosopher and presents a certain knowledge praxis and culture. In addition, Eilschov also thinks women have greater imagination and therefore are conditioned to other rhetorical strategies than men. Though Eilschov has been acknowledged as one of the more influential rationalists in Denmark during the 18thcentury as well as an important language puritan his role as one of the first scientists in Denmark that introduces fictionality as a rhetorical strategy to communicate science has been underemphasized. This article aims to change that.

The purpose of this text is to investigate how pupils in school year nine use fiction to discuss pre-given issues related to ethics. Do they limit themselves to associating freely based on the textual content they encounter, or do they use the literature as a ”special form of knowledge” in the sense that they see opportunities to deepen and develop their ethical reasoning based on the potentials of the text as fiction? If it is the case that the students use literature as something more than a ”communicative instrument”, in what ways could they be supported to develop their reasoning on ethics based on the fact that it is a fictional text that they use in their conversations? In order to illustrate possible answers to these two issues, theories based on literary literacy (Frederking et al. 2012) are used, i.e. theories in which the fictionality of the fictional text is highlighted (Eco 1990, Genette 1997). In light of the results, the use of semantic, idiolectic and contextual literacy is discussed.

I denne artikel analyserer jeg Niviaq Korneliussens behandling af den aktuelle grønlandske selvmordsproblematik i romanen Blomsterdalen (2020). Romanen er – efter forfatterens eget udsagn – «politisk», hvilket rejser en række spørgsmål: Hvorfor skrive en roman i stedet for et debatindlæg? Hvad er det for mulighedsrum, fiktionen åbner? Og på hvilke – og anderledes – måder kan en roman være med til at diskutere og nuancere politiske, kulturelle og menneskelige forhold? Med afsæt i retorisk fiktionalitetsteori fokuserer jeg på Korneliussens brug af lokal fiktionalitet i form af dødsrepræsentationer, komposition og pronominale skift og viser, hvordan hun, bl.a. gennem romanens nedtællingsspor, fremskriver perspektiver, der synes utilgængelige uden for litteraturens verden.

Artiklen undersøger ”youtuberbøger” som en del af nutidig dansk børne- og ungdomslitteratur, hvor youtubere er (med)forfattere til bøger, der fungerer som transmediale udvidelser af deres digitale universer. Med fokus på balancen mellem kommercielle og æstetiske aspekter analyseres, hvordan bøgerne udnytter både bog- og YouTube-mediets styrker. Bøgerne kombinerer biografiske og fiktionaliserede elementer, hvilket udfordrer grænsen mellem virkelighed og fiktion og kræver en særlig aktiv indstilling hos læseren. Udgangspunktet er youtuberfamilien Münster og deres bogserier, hvor paratekstuelle elementer som omslag og lydbogsindlæsninger skaber forbindelse til deres digitale indhold. Elementer som illustrationer og fortællestil bidrager til en kompleks relation mellem virkelighed og fiktion. Artiklen konkluderer, at youtuberbøger både har kommercielle formål og tilbyder en æstetisk oplevelse, der bedst forstås i en transmedial kontekst.

Resumé Denne artikel omhandler Cecil Bødkers Salthandlerskens hus (1972), der med sin kombination af duform og selvbiografisk indhold er en selvbiografisk dufortælling. Dufortællinger er kendetegnet ved en særegen pronomenbrug – et du bliver refereret til, men ikke tiltalt – og forbindes derfor typisk med fiktionsgenren. Med afsæt i retorisk fiktionalitetsteori præsenterer artiklen en tilgang, der anskuer duformen som en narrativ teknik, der signalerer fiktionalitet, men ikke er bundet til fiktionsgenren. Artiklen åbner således for undersøgelser af duformens effekter i selvbiografiske værker, hvor duformen – ikke på trods af, men på grund af sin fiktionalitet – viser sig særligt egnet til at udforske kernen i selvbiografisk arbejde: erindring.

Copyright of Slagmark is the property of Aarhus University, Department of Philosophy & History of Ideas 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.)

On the basis of the information panic about the Slave War of 1848 in Denmark and the professional ethics and discourse of modern journalism for the printed press of the late 19th century, the question of rumours, untruthfulness and related phenomena in media communication is investigated in a media history perspective. The information panic of 1848 exhibits common features as 'going viral' within digital media culture. Print news reporting, along with the ethics and discourse of 19th century journalism, served as a means of containing and regulating the flow of information, which is set free again, however, with the emergence of digital media culture. On the basis of this example, I argue in favour of downscaling the status of print media culture as the norm for judging contemporary media culture, including phenomena like 'fake news'. [ABSTRACT FROM AUTHOR]

This article discusses skilling ballads as a news medium in the early modern period, and it suggests that in Scandinavia the news ballad was the most important journalistic genre for a broad public. Through a reading of ballads conveying news of fantastical creatures, the article considers how skilling ballads negotiated the borders between the true and the false, and how some of our contemporary mechanisms for revealing fake news can be detected in the early modern news ballads. [ABSTRACT FROM AUTHOR]

The article presents an updated portrait of the controversial Russian writer and politician, Eduard Limonov (b. 1943), with a view to discussing him as at once an example of and a comment on contemporary conditions for art and politics in Russia under so-called developed Putinism. Based on Judith Butler's definition of identity as constituted by performative acts, the article analyses Limonov's varied activities throughout more than half a century as a coherent project insofar as he seems to be primarily concerned with creating the scandalous yet heroic identity of "Limonov", disregarding in the process any distinction between fact and fiction. First, as an underground artist in the Soviet Union and exiled, scandalous writer, then a rebel and founder of the now banned National Bolshevik Party in post-Soviet Russia, and, finally, an activist and politician in Putin's Russia, where he attempted to run for president in 2012. Previous attempts to pinpoint the ambiguous phenomenon of Limonov are discussed and used as a background for characterising his present predicament: the carefully created identity of "Limonov" seems to have been outmaneuvered by a political development very much in line with his own key policy issues, by a president successfully posing as exactly the kind of hero and saviour, "Limonov" was cast to be, and by a growing prevalence of and, consequently, indifference towards fake news. [ABSTRACT FROM AUTHOR]

Taking off from El prodigio de Alemania [The Wonder in Germany, 1634], a recently discovered collaborative play by Calderón and Coello about general Albrecht von Wallenstein, this article discusses the conception of factuality informing Golden Age dramatic representations of contemporaneous history. Vis-à-vis the recurrent critical disparagement of this type of drama as artistically inferior propaganda, I will demonstrate the dramatists' delicate handling of the breaking news about Wallenstein's death and their use of advanced aesthetic and performative devices to stimulate audience thinking about Wallenstein's destiny: Why did he become a traitor? Highlighting the subtle doublespeak informing especially the epilogue and the protagonist's great monologue, I will argue that the play is at once loyal and critical toward Habsburg policy: it follows the official explanation of the general's murder -- that he was planning high treason -- yet at the same time demonstrates an essentially interrogatory conception of factuality that invites reflection on what is historical "truth". [ABSTRACT FROM AUTHOR]

This article examines the current efforts to rethink the perception of facts and fiction and the relation between the two arising in both academia and literature. Bruno Latour's repudiation of the modern division of subject and object implies that the hard facts of traditional science cannot be sharply dissociated from art and soft values. In tandem with Latour's increasing influence in a number of academic disciplines, a strong engagement with factual matters has appeared in literature. The field of science and the field of aesthetics thus seem to approach each other from both sides, science leaning towards artistic practices and fiction leaning towards facts. In his search for an alternative knowledge acquisition, Latour turns to aesthetic devices. Following this lead, the aesthetic attention of Pejk Malinovski and the recently actualized Frank O'Hara and Robert Walser appears to insist on meeting things openly, in their specific situations and concrete exchanges, inspiring Latour's call for a transformation of matters of fact into matters of concern. The question is, however, to what extent Latour's perspective is able to make real scientific use of this kind of production of meaning. Considering Martin Heidegger's and Hannah Arendt's views on the relation of technology, knowledge, value, and art, it seems that Latour after all might not be that disengaged from modern philosophy and the modern stress on separation rather than mediation. [ABSTRACT FROM AUTHOR]

This article outlines the two cultures in the study of conspiracy culture, where social science disciplines provide one type of approach and cultural studies another. To make a claim for recovering the use of literature in the field, both to bridge the divide, if possible, and to suggest new critical directions for literary studies itself, the article offers a reading of two congruent conspiracy narrations, Donald Trump's rhetoric and Thomas Pynchon's novels. Both are examples of ambiguous narration, which may be taken at face value by one reader and invested with hidden significance by another, thus creating two closed-off epistemic bubbles - politically and critically. When critics have not been taking conspiracy fans, which could include esteemed literary figures like Pynchon, seriously, they have been guilty of closed reading. Fans themselves, though equally closed readers technically, offer avenues into affective and co-creative conspiracy readings which are, paradoxically, open to the reparative possibilities literature can have in a politically paranoid society. [ABSTRACT FROM AUTHOR]

The article provides a critical commentary on the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders, DSM-V, from 2013. It traces the historical reasons behind the fact that sexual preferences are included as mental disorders in the psychiatric manual, even if many of them are empirically neither generally associated with impairment or harmful to anyone else. This holds true for fetishism, masochism and consensual sadism among others, and the article pays special attention “sadism” and “masochism, which as “clinical” terms are constituted from the names of literary authors. Second it close reads the descriptions in DSM-V to show that there are several reasons why these descriptions become pathologizing and stigmatizing despite explicit intentions to be the opposite. These include erosions of the distinction between paraphilia and paraphilic disorder – a distinction on which the very possibility of diagnosis is established. Furthermore, the handbook does not make the non-consensual, the impairing or the harmful, the over-riding principle but instead the sexual preference in and of itself. The article shows how deeply affected the conceptions of the real-world preferences are by the events and characters in the fiction of these authors, and how hierarchical disparity and power exchange are typically more central to the preferences than pain with which they have been so closely linked. [ABSTRACT FROM AUTHOR]

This article analyzes Lars Saabye Christensen’s novel Maskeblomstfamilien (2003) with a particular focus on uncovering how the novel portrays and addresses the shame and stigma associated with deviating from established gender norms. Drawing on Judith Butler’s works Gender Trouble and Bodies That Matter, the article investigates the social regulation that the novel’s protagonist undergoes in 1960s Norway within the framework of the heterosexual matrix. While Butler’s theoretical texts do not provide extensive descriptions of how the regulation of the heterosexual matrix operates in practice and how it feels to be subjected to it, an analysis of Maskeblomstfamilien offers a more comprehensive understanding of how these regulations function in relation to the allocation of shame, acts of violence and hatred, institutional violence, and social exposure. Concurrently, the novel highlights the protagonist’s resistance to these regulations through strategies such as hyperbolic misquotation. [ABSTRACT FROM AUTHOR]

Copyright of Kierkegaard Studies Yearbook is the property of De Gruyter 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 K&K: Kultur og Klasse is the property of Syddansk Universitet, Institut for Kulturvidenskaber 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.)

Celebrities playing fictionalized versions of themselves in commercials, campaigns, and video spots have become an increasingly viral phenomenon. The George Clooney commercials for Nespresso are circulated and promoted on various media platforms, segments from The Tonight Show Starring Jimmy Fallon are released on NBC.com and shared on YouTube, and some videos are explicitly created to go viral and even published on social media sites. In this article, I draw on recent work in fictionality studies and studies of virality to investigate how the celebrity trend of 'vitafiction' possesses a viral potential. In vitafictional performances, the relationship between fiction and reality is thematized through a concurrent surplus of fictionality and biographical details, which invites recipients to negotiate between the celebrity's performance and the receiver's media cultural knowledge. Taking vitafictional performances in two online circulated spots as case studies – 'Bono rides a bike with Jimmy Fallon', a spot for The Tonight Show starring Jimmy Fallon, and Peter Jackson's Facebook video post 'Home Invasion', a video that thematizes Jackson's role as director of an episode of Doctor Who – this article demonstrates how the equivocality that is central to the vitafictional performance comprises a force that prompts receivers to circulate the vitafictional message. It is argued that the mediatization of society and the virality that this brings about create new possibilities for the impact of this kind of celebrity self-fashioning. [ABSTRACT FROM AUTHOR]

In this article, we question the efforts undertaken by Facebook in regard to fact-checking, tagging, and flagging instances or appearances of fake news. We argue that in a global world of communication, fake news is a form of communicative action, which we must learn to deal with rather than try to remove. The very existence of fake news is a political question inscribing itself in the history of political communication and thus in the long run a question about the democratic conversation. This conversation must and will always be a conversation where arguments (emotional or not) are discussed in a common place. In other words, there is no technical fix, such as automated flagging or tagging, to the 'solution' for democratic conversation. We must insist on the democratic value of listening to the other. The outcome can never be one of getting it right by algorithmic means. [ABSTRACT FROM AUTHOR]

This article aims to characterize a commonly misunderstood and neglected critique of narratology and insists that the critique could advance the narratological discussions if taken more seriously. I describe the notions of three individual critics and one group of critics and their suggested alternatives to what they hold to be the dominating description of narrative fiction in narratology. In turn, I take up Sylvie Patron's linguistic approach, Lars-Åke Skalin's aesthetic approach, and Richard Walsh's pragmatic approach, as well as unnatural narratology (which is less radical), and suggest that they have a Difference approach to narrative fiction. The critique is contrasted with what I refer to as a Sameness approach, guiding the dominating description of narrative fiction in narratology. The Sameness approach relates novels and short stories to a notion of a default mode of "narrative" which is based on situated speech about something that has happened. This is, according to the critics, a mistake. The main thrust of the critics, although with some exceptions, is instead that narrative fiction needs to be approached as sui generis in order to be described effectively. Yet how this should be done is still open for debate. [ABSTRACT FROM AUTHOR]

Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors' intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations. On the other hand, we have the more restricted view that focuses on specific, readily recognized signs of intertextual relations between literary texts. Gérard Genette offers a vocabulary to describe the interaction between only two identifiable texts. In this article, I shall propose a third alternative that takes the middle ground and investigate what a rhetorical approach to intertextuality means for the understanding of the concept of comparison. [ABSTRACT FROM AUTHOR]

Ingemar Haag om ANNA JUNGSTRAND DET LITTERÄRA MED REPORTAGET. OM LITTERARITET SOM JOURNALISTISK STRATEGI OCH ETIK Lund: ellerströms, 2013, 347 s. (diss. Stockholm) Per-Olof Mattsson om STEFAN JONSSON CROWDS AND DEMOCRACY. THE IDEA AND IMAGE OF THE MASSES FROM REVOLUTION TO FASCISM New York: Columbia University Press, 2013, 312 s. Anna Bohlin om ÅSA ARPING ”HVAD GÖR VÄL NAMNET?” ANONYMITET OCH VARUMÄRKESBYGGANDE I SVENSK LITTERATURKRITIK 1820–1850 Göteborg/Stockholm: Makadam, 2013, 350 s. Greger Andersson om LOUISE BRIX JACOBSEN, STEFAN KJERKEGAARD, RIKKE ANDERSEN KRAGLUND, HENRIK SKOV NIELSEN, CAMILLA MØHRING REESTORFF & CARSTEN STAGE FIKTIONALITET Frederiksberg: Samfundslitteratur, 2013, 168 s. PER KROGH HANSEN, HENRIK SKOV NIELSEN & STEFAN KJERKEGAARD (RED.) ”FIKTION OG FORTÆLING” K&K (Kultur og Klasse), nr. 115, 2013, 183 s. Carin Franzén om KARI LØVAAS OCH DE SÅG ATT DE VAR NAKNA. OM SKAM OCH BESKYDD övers. Lars Andersson, Stockholm: Ariel Litterär kritik, 2013, 298 s. Axel Englund om ANDREW GOLDSTONE FICTIONS OF AUTONOMY. MODERNISM FROM WILDE TO DE MAN Oxford: Oxford University Press, 2013, 224 s.