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Som genre er den historiske roman kendetegnet ved spændingsfeltet mellem fakta og fiktion. Denne artikel undersøger det kommunikative mulighedsrum i Margrete I (2020) af Anne Lise Marstrand-Jørgensen med fokus på den måde, hvorpå romanen formidler historiske fakta gennem brugen af en faktuel diskurs. Med afsæt i fiktionalitet og faktualitet som retoriske greb viser artiklen, hvordan romanens lokale, faktuelle diskurs kan kategoriseres i tre typer ud fra diskursens synlighed. For hver type bliver diskursen gradvist mindre tydelig i takt med, at fortællingens realhistoriske elementer bliver tiltagende indlejret i værkets globale, fiktive diskurs. Set fra et retorisk perspektiv betyder det, at graden af faktualitet falder, mens graden af fiktionalitet stiger. Samlet set illustrerer typerne Marstrand-Jørgensens komplekse måde at inkorporere historiske fakta på i sit fiktio­naliserede portræt af Margrete I. Hvad angår faktualitet som retorisk strategi, er det artiklens argument, at strategien er mindre autonom sammenlignet med fiktionalitet, eftersom faktualitet både er afhængig af relevansen og sandheden af et udsagn., The historical novel is widely accepted as a hybrid genre in which the interaction between fact and fiction is highly present. This article investigates the potential margin of fiction as a communicative tool for factual discourse in the case of Margrete I (2020) written by Anne Lise Marstrand-Jørgensen. By means of fictionality and factuality as rhetorical devices, the article shows how the use of a local factual discourse can be classified into three different types distinguished by the degree of overt­ness. For each type, the factual discourse becomes less overt due to the factual historical elements becoming increasingly embedded in the global fictive discourse of the novel. From a rhetorical point of view, this means that the degree of factuality decreases as the degree of fictionality increases. Overall, the types illustrate Marstrand-Jørgensen’s complex way of incorporating historical facts as part of her fictionalised portrait of Margrete I. Regarding factuality as a rhetorical strategy, the article argues that it is less autonomous than is fictionality since factuality is obliged to the truth as well as the relevance of a sender’s communicative content.

The purpose of this study is to discuss the question of fact, fiction, and faction using as an example Elisabeth Åsbrink’s Och i Wienerwald står träden kvar (2013), the story of a Jewish boy who was rescued from Nazi Vienna to Sweden by Svenska Israelmissionen in 1939. When published, it was praised in reviews but also questioned for blurring the border between fact and fiction. In the article three different kinds of fiction theories are brought into play and their capability of coming to terms with Åsbrink’s rhetorical strategies, and with literary journalism of this kind, is examined and discussed. The conclusion is that theories focusing on purely extra-textual or intra-textual features get into trouble as opposed to a more pragmatic view treating fictionality as an act of rhetorical communication. It also seems clear that faction is a concept of disputable value.

Maja Lundgren’s outspoken description in Myggor och tigrar (2007) of the male dominated cultural life of Sweden raised an animated debate in media. Well known authors and journalists felt themselves scandalized and accused Lundgren of being paranoid. Others claimed that the narrator and character »Maja Lundgren« was not to be confused with Maja Lundgren the author, because the book was fictional and not factual. In this article I discuss Myggor och tigrar out from different fiction theories and conclude that it seems most rewarding to approach the problem of fictionality as a question of rhetorical communication rather than ontology or stylistic devices. I also maintain that Lundgren’s book would implode if read as fiction, since the rhetorical strategy implies the identity of the author and the character.

För att ta reda på hur ett verk kan framhäva sin egen fiktionalitet och hur ett verk kan förhålla sig till andra texter gjorde jag en närläsning och tolkning av Fight Club. Syftet med undersökningen var att försöka undersöka verkets pedagogiska möjligheter att matcha och utmana elevernas litterära och allmänna repertoar, med fokus på textens möjligheter att göra motstånd mot förhållningssättet att läsa litteratur som empirisk avbildning av verkligheten, samt hur jag som pedagog kan använda detta verk för att illustrera hur den som fiktiv text skapar sin betydelse genom sitt förhållande till andra texter och klassiska teman. Det som jag fick fram, var bl.a. att genom sin opålitlige berättare och luckor i texten så framhävde Fight Club sin egen fiktionalitet. Tillsammans med dess tendenser och intertextuella relationer så vill jag hävda att Fight Club utgör ett lämpligt läromedel och stöd i att forma kritiska och estetiska läsare