Search

Combining Raymond Murray Schafer's works and Marielle Macé's writings on the disappearance of song from our soundscapes, this study constitutes an ecopoetic and ecoacoustic analysis of the disappearance of birds that accompanies the transition from natural spaces to industrialized places where mechanical rhythms reign in William Carlos Williams's Adam & Eve & The City (1936). These sonic "alterations" invite readers to listen beyond the soundscape to resume their conversations with birds. [ABSTRACT FROM AUTHOR]

Politiske poetiske værker opponerer mod de herskende forhold med en bred civilisationskritik eller en målrettet kritik imod bestemte institutioner eller aktører. Tonefaldet varierer fra den direkte indignation til den subtile satire. I denne artikel diskuterer jeg to forskellige former for politisk lyrik, som jeg vil illustrere med to centrale værker inden for nordisk lyrik, nemlig et hovedværk fra den norske modernisme i 1960’erne, Paal Brekkes Roerne fra Itaka (1960), og et centralt værk fra de følgende årtiers danske politiske systemdigtning, Klaus Høecks Sorte sonetter (1981). Såvel Brekkes som Høecks værk forholder sig ironisk vrængende til den klassiske poetiske tradition, hvad enten det som Brekke er med en travesteret mytologi fra Odysseen efter James Joyces forbillede eller som Høeck med ”søndersprængte sonetter” efter Erik Lindegrens model. Sigtet med deres politiske digtning er derimod vidt forskelligt. I Brekkes generelle kulturradikale poetik betragtes det æstetiske, det etiske, det eksistentielle og det politiske som en syntese, mens Høecks politisk radikale værk har taget springet bort fra alle vante etiske og eksistentielle normer og over i en den revolutionære tro.

Artikkelen ser på løfter og trusler knyttet til natur i de bøkene som har vært ansett å «åpne» hhv dansk/norsk romantikk og norsk modernisme. Hos Oehlenschläger er naturen stedet for seksuell vold liksom for følsomhet i motsetning til sivilisasjonens kjølige fornuft; hos Jacobsen er naturen sivilisasjonens drivende kraft – hos begge i prekær balanse mellom jordisk salighet og overhengende katastrofe. Den etablerte motsetningen mellom himmelsk overnatur og jordisk natur er hos Oehlenschläger erstattet av tautrekking mellom blodløs konvensjon og umulig – undersjøisk – natur. Bare i eventyrets verden kan elskende forenes. Konsekvent etablerer diktet en transcendens som ikke må realiseres. Hos Jacobsen får sivilisasjonen kraft og driv fra følelsens og viljens kollisjon med en vakker, men meningsløst likegyldig natur. Landskapet og historien forespeiler nåtiden dens potensial. Forhistorien finnes i drømmen, fremtiden i forlengelsen av samme drøm. Hendelser gjentar seg. Naturen i fjellenes, fossenes og månens skikkelser hos Jacobsen er ikke mindre skremmende enn Oehlenschlägers troll, heller ikke når urdyr kommer igjen som maskiner. Et førhistorisk angstritt er ikke vesensforskjellig fra togturen som avslutter samlingen. Idet naturen hos begge forfattere overtar for det over-naturlige, åpnes for resakralisering med irreelle paradiser og truende død.

Copyright of Urban History Review / Revue d'Histoire Urbaine is the property of University of Toronto Press 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 Recherches en Langue et Littérature Françaises is the property of University of Tabriz 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 Imaginaires is the property of Universitaires de Reims 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 Human Sciences Journal / Revue des Sciences Humaines is the property of Universite des Freres Mentouri Constantine 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 research aims to examine the modernization that occurred in Saudi Arabia under the leadership of Muhammad bin Salman. The modernization of Saudi Arabia in the era of Muhammad bin Salman became important for Muhammad bin Salman's political attitude, which tended to be open to foreign cultures and move away from Wahhabism values that had been ingrained in Saudi Arabian culture. To support the analysis in the research, this article uses a historical approach and modernization theory. Through this approach and theory, this research is not only narrative-descriptive but more analytical-descriptive. The findings in this research are that the Wahhabism doctrine that developed in Saudi Arabia had a major impact not only on socio-religious aspects but also on political aspects. Through the Saudi royal authorities and Wahhabi clerics, everything that is not in accordance with the values of Wahhabism will be considered wrong and outside the pure teachings of Islam. This condition lasted until the end of King Salman's time and changed during the time of Muhammad bin Salman due to the modernity implemented in the Arab Vision 2030. Abstrak: Penelitian ini bertujuan untuk mengkaji modernisasi yang terjadi di Arab Saudi di bawah kepemimpinan Muhammad bin Salman. Modernisasi Arab Saudi di era Muhammad bin Salman menjadi penting sikap politik dari Muhammad bin Salman yang cenderung kepada keterbukaan terhadap kebudayaan luar dan keluar dari nilai-nilai Wahhabisme yang selama ini telah mengakar dalam budaya Arab Saudi. Untuk mendukung analisis dalam penelitian, artikel ini menggunakan pendekatan sejarah dan teori modernisasi. Melalui pendekatan dan teori tersebut, penelitian ini tidak hanya bersifat naratif-deskriptif, melainkan lebih kepada analitis-deskriptif. Temuan dalam penelitian ini adalah, bahwa doktrin Wahhabisme yang berkembang di Arab Saudi memberikan dampak besar tidak hanya bagi sosial-keagamaan, melainkan juga aspek politik. Melalui otoritas kerajaan Saudi dan ulama Wahhabi, segala sesuatu yang tidak sesuai dengan nilai-nilai Wahhabisme akan dianggap salah dan keluar dari ajaran Islam yang murni. Kondisi tersebut berlangsung hingga berakhirnya masa Raja Salman dan berubah pada masa Muhammad bin Salman akibat modernitas yang diimplementasikan dalam Visi Arab 2030.

The article examines the symbolism of vegetal forms used in Catalan modernism at the turn of the 20th century. Catalan modernism was one of the artistic movements that widely used nature as a source of inspiration. Vegetal elements of decoration were not just aesthetic ornaments, they were filled with historical and cultural symbolism acquiring ideological value. Guided by the national ideals that were formed during the 19th century in the wake of the Renaixença, the artists of Catalan modernism created a symbolic universe. Vegetal ornamentation synthesised and visually conveyed the diversity of ideas of Catalanism, i.e., nationalism, tradition, heroic past and religious sentiment. It resulted in an iconographic program adapted to the distinctive features of Catalan society and, in particular, to the ideological background with which conservative Catalanists identified themselves.

Idékonkurransen om gode bondehager ble arrangert av Norsk Hagearkitekt- og Anleggsgartnerlag i samarbeid med Selskapet Havedyrkningens Venner i 1936–39. Artikkelen presenterer historien for første gang i detalj. Konkurransen settes inn i en historisk og ideologisk kontekst som del av prosesser som bidro til å bevege hagekunsten fra elitekultur til folkekultur på første halvdel av 1900-tallet. Artikkelen stiller spørsmål om hvorvidt konkurransen også for enkelte kan ha vært et politisk virkemiddel i nasjonalistisk tjeneste under opptakten til andre verdenskrig.

This article is an attempt to parallel literature and jazz music, which, according to the Belgian poet Robert Goffin, created new trends at the beginning of the 20th century. Touched by the cosmopolitanism of Blaise Cendrars, the simultaneous poetry of Guillaume Apollinaire, the author tries to synthesize a new spirit in a new poetry in syncopated rhythm. He sees musical improvisation as an element that can shape creative writing in various aspects, from narrative to structure, reflecting the surrealist-inspired need to create outside the traditional ontological framework. According to him, jazz not only illustrates the quest for independence in the artistic and social spheres, but is also a means to reach the unconscious. [ABSTRACT FROM AUTHOR]

Amb les primeres aproximacions modernistes, una de les necessitats més urgents que es posen de manifest és la renovació poètica i l’allunyament dels models vuitcentistes. Així ho exposa el crític Ramon D. Perés, que clama per una modernització urgent de la poesia catalana que començaria per l’actualització de la forma. Perés distingeix entre els que segueixen els models de l’escola antiga —plens de falsedat i amb formes èpiques gastades— i els de l’escola nova —que fan una poesia sincera, espontània i renovada, entre els quals sobresurt el nom d’Apel·les Mestres.

Discoursively glocal architectures play a key role in today’s architectural norms and forms. This is also the case in Portugal where modern pedigreed architecture harnesses some form of local tradition and cultural reification as credentials. This article argues this is partly rooted in the cultural discourses developed within the post-war colonial project of the Portuguese dictatorship (Estado Novo), intersecting modernization with imperial reorganization, and in which architectural modernist ideals of autonomy and liberty played a direct role. The article contends the appropriation of these ideals needs to be considered in a double light: as a sign of progress for a professional elite and as a new mask for an old and violent system of inequality. The article explores the colonial infra-structuring of post-war architectural knowledge, questioning the role of “virgin” landscapes in re-creating professional practice rallied by colonial modernization. The article examines how ethnographic processes were integrated into architectural creation, inspiring “culturally committed” forms of “Portuguese” modernism and imperialism. Offering a critique and cultural debate of the entanglements between architecture, anthropology, nation and empire, the article aims to contribute to architecture’s political history and to debates on the role of modern spatial practices in the creation of racial categories. [ABSTRACT FROM AUTHOR]

Copyright of Tijdschrift voor Skandinavistiek is the property of Tijdschrift voor Skandinavistiek 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 Luanda maybe more than elsewhere, controlling the city landscape is synonymous with controlling the polity at large. Despite a tremendous political change in Angola during the twentieth century, the paper traces how the modernist plans elaborated in the late colonial period (1945–1975) have influenced the planning imagination of Luanda until today. It argues that the construction boom that reshaped Luanda at the end of the war in 2002 can be interpreted as a modernist promise to break the middle class free from a hopeless urban fabric by promoting a specific urban aesthetic rather than facilitating social transformation. These continuities are, however, complex and fragile. What happens when the utopia of a city under control starts to lose power? Reflecting on two urban projects built around half a century apart, this paper explores how the kinesthetic experience of the city might constitute an unexpected form of ideological dissent able to disrupt modernism at large. The trajectory of Kilamba City, in particular, is the epitome of the oil-fed reconstruction frenzy of the late 2000s that brutally ended in 2014. Looking at how residents, planners and even state media relate to this project suggests that the unsustainability of a utopian suburban life eventually triggers new political subjectivities and directly challenges the modernist ideology that endured for so long. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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 South African Journal of Art History / Suid-Afrikaanse Tydskrif vir Kunsgeskiedenis is the property of Art Historical Work Group of South Africa 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.)

Dans cette étude, nous nous concentrerons sur l’affinité poétique unique entre le poète uruguayen Julio Herrera y Reissig (1875–1910) et le poète français Albert Samain (1858–1900), qui se concrétisa dans la traduction espagnole que fit Julio Herrera y Reissig de quelques poèmes tirés du recueil que Samain composa en 1898. Notre objectif n’est pas ici de faire une lecture critique des traductions de Herrera y Reissig, mais plutôt de cerner les éléments de contact unissant les deux poètes. Ainsi, au travers d’une analyse contrastive, illustrerons-nous les affinités entre l’auteur français et son traducteur uruguayen. Dans Aux flancs du vase, Samain a su transposer en vers essentiels, sensuels et harmonieux les émotions que suscitent en lui les paysages lumineux et certains moments de la vie quotidienne. Si son style ne coïncide nullement avec le monde poétique du Modernisme, où foisonnent les parfums exotiques, les couleurs, les cygnes et les personnages du monde classique, il a donné à Herrera y Reissig l’opportunité de réaliser un véritable remaniement créatif, en imprimant au texte original des transformations tout à fait remarquables. Dans ce recueil d’alexandrins où la nature est protagoniste, les sensations communes aux deux poètes sont évoquées par le choix des couleurs et des parfums, les combinaisons de sons et la profusion d’images qui atteignent une rare intensité.

Copyright of South African Journal of Cultural History is the property of South African Society for Cultural History 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.)

Model Implementasi Kurikulum Ornstein dan Hunkins: (Modernisme dan Postmodernisme). Implementasi kurikulum adalah realisasi terhadap perencanaan kurikulum yang telah dibuat sebelumnya. Dalam melaksanakan kurikulum, segala macam ide harus dikonseptualisasikan dan diarahkan. Dalam menentukan arah penerapannya, kurikulum memerlukan model-model yang nantinya dapat dijadikan acuan, pedoman atau arahan bagi pergerakan kurikulum ke depan. Allan C. Ornstein dan Francis P. Hunkins dalam bukunya “Curriculum: Foundation, Princiles, and Issues”, edisi ke-7, memaparkan model-model penerapan kurikulum, yang dibagi menjadi dua kategori model, yaitu model yang beraliran modernis dan model beraliran postmodernis. Dalam artikel ini, peneliti akan melihat sejauh mana perbedaan antara kedua jenis kategori model tersebut, dan apa implikasinya bagi implementasi kurikulum di Indonesia. Penulis menggunakan metode studi literatur pada artkel ini, yakni tentang model-model implementasi kurikulum modernisme dan juga postmodernisme. Temuan dalam penelitian ini yaitu terdapat perbedaan di antara model model-model implementasi kurikulum tersebut (aliran modernisme dan aliran postmodernisme), dan juga model-model implemntasi kurikulum tersebut memberikan pengaruh terhadap perjalanan kurikulum di Indonesia. Kata kunci: Model Implementasi Kurikulum Ornstein-Hunkins, Modernisme, Postmodernisme Ornstein and Hunkins Curriculum Implementation Model: (Modernism and Postmodernism). Curriculum implementation is the implementation of the curriculum that has been planned. In implementing the curriculum, all kinds of ideas must be conceptualized and directed. In determining the direction of its application, the curriculum requires models that can later be used as references, guidelines or directions for future curriculum movements. Allan C. Ornstein and Francis P. Hunkins in their book "Curriculum: Foundation, Princiles, and Issues", 7th edition, describe curriculum implementation models, which are divided into two categories of models, namely modernist models and postmodernist models. . In this article, the researcher will look at the extent of the differences between the two types of model categories, and what the implications are for curriculum implementation in Indonesia. The writer used literature study method in this article about models of curriculum implementation of modernism and postmodernism. The findings in this study are that there are differences between the models of curriculum implementation (modernism and postmodernism), and also that these curriculum implementation models give an influence on the course of the curriculum in Indonesia.

Copyright of Urban History Review / Revue d'Histoire Urbaine is the property of University of Toronto Press 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.)

C'est peu de dire que Xenakis a marqué son époque. Peu de musiciens ont proposé une rupture aussi significative dans la conception même du fait musical, au point que cette ligne de fracture est encore extrêmement vivante. On essaiera de comprendre l'origine et la nature du changement de paradigme proposé par Xenakis pour l'art musical. À travers diverses rencontres historiques, Varèse, mais aussi Boris de Schloezer et Marina Scriabine, dans la façon très spécifique qu'il a eu de s'intégrer au débat très actif en France sur le formalisme, en prenant aussi en considération le moment sociologique bien particulier du tournant des années soixante dans lequel cette proposition s'inscrivait, on tentera de comprendre les ressorts de la pensée musicale qui émerge et trouve en lui sa figure de proue. On s'interrogera également sur ce qui est vivant aujourd'hui de cette pensée et en quoi cela fait encore sens, et peut-être plus que jamais, d'être xenakien. [ABSTRACT FROM AUTHOR]

Copyright of Ler Historia is the property of Ler Historia 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 Synergies Mexique is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 Nordic Journal of Francophone Studies / Revue Nordique des Études Francophones is the property of Ubiquity Press 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 Haidé: Estudis Maragallians is the property of Biblioteca de Catalunya 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 Haidé: Estudis Maragallians is the property of Biblioteca de Catalunya 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.)

Tujuan Penelitian: Penelitian ini bertujuan untuk menggetahui perbandingan antaara da’wah tajdid dan da’wah modernisme. Metode Penelitian: Kuantitatif. Hasil Penelitian: Salah satu isu da’wah yang cukup dinamis dan menjadi diskusi hangat adalah tentang gerakan modernisme dalam dunia pemikiran Islam. Modernisme seringkali dipandang sebagai lawan dari tradisionalisme yang menganggap bahwa pemikiran lama tidak lagi dapat dipertahankan dan perlu diganti dengan yang baru. Hanya saja, persoalan yang muncul tidak sesederhana itu. Modernisme terbukti membawa paradigma baru dalam beragama yang justru hendak mendekonstruksi agama dan membongkarnya. Tidak hanya dalam agama Islam, tetapi juga terjadi pada agama lain. Disatu sisi modernisme juga seringkali disalah fahami semakna dengan istilah tajdīd. Padahal kedua istilah dan konsepnya memiliki perbedaan yang sangat dalam. Tajdid berorientasi positif dan berbasis pada syari’ah, sementara modernisme berbasis Barat dan berbahaya.

This article reflects on the recent prominence of direct address—characters speaking directly to the camera—within new television. With particular reference to Phoebe Waller-Bridge's Fleabag (BBC Three, 2016–19), the phenomenon of direct address is in this context situated amid the broader history of pictorial art, especially painting and the problem of theatricality first introduced by Denis Diderot in the eighteenth century and taken up in the last century by Michael Fried. The article concludes by showing how Fleabag's use of direct address both fits neatly into this art history and moves beyond it, showing especially how Fleabag's use of direct address substantially comments on modernity, on the status of art (especially new television), and even on the status of religion. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

A significant body of mid-century design has remained relatively unstudied and underrepresented in museum collections due to its figurative and emotional decorations. These designs clashed with the reigning conception of modern style as rational, honest, streamlined and masculine, yet also represent a clearly modern approach to decoration, designed to complement the modern home. A range of mainly Scandinavian designs and designers are discussed in the article. Long neglected for their alleged aesthetic audacity, these works offer insight into the hunger for soothing emotional objects in the post-war era and may best be decoded as “cute” objects provoking ambivalent responses. [ABSTRACT FROM AUTHOR]

Copyright of South African Journal of Cultural History is the property of South African Society for Cultural History 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 isolates three qualities of subjectivity occurring in three stories by Ernest Hemingway, from the existential self of "A Clean Well-Lighted Place," to the historical consciousness of "A Natural History of the Dead," to the radical subject of becoming of "A Way You'll Never Be." It tracks a spectrum of possible responses to the shock of the modern and argues that "A Way You'll Never Be," imagining a subjectivity akin to post-humanism, offers a unique vision of the self as something with no essential anchoring points. [ABSTRACT FROM AUTHOR]

Copyright of Review of African Political Economy is the property of Review of Political Economy (ROAPE) 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.)

The majority of critics believe that prose poetry emerged as a result of modernism that invadedeven poetry. They claim that a desire to go beyond the inherited model has been established among poets and critics to introduce new poetic models following the popular trend: poetic experimentism. The journal "poème" had a pioneering role in promoting the terms "prose poetry" since 1960. It was Adonis who initiated the theorization by translating the work of Suzanne Bernard entitled "The prose poem from Baudelaire to the present day". He was also the first to publish a prose poem. [ABSTRACT FROM AUTHOR]

Hamsuns roman er komponert i korte, tilstands- og stemningsorienterte kapitler, har to kontrasterte jegfortellere, fire ulike tidsnivå, vekt på erindring, drøm, ubevisst sjeleliv og det irrasjonelle. Personene, særlig protagonistene Glahn og Edvarda, framstår uten klare motiver, og plotkomposisjonen er vag og åpen. En slik romankomposisjon er utfordrende å adaptere til film og skiller seg kraftig både fra de kunstneriske konvensjonene i samtidens norske bonde- og bygdefilm og fra den framvoksende Hollywood-stilen og det som etterhvert blir den klassiske filmfortellingens ideal. Hovedspørsmålene som stilles i denne artikkelen er derfor hvordan utfordringene er løst, hva som kjennetegner Schwenzens film som adaptasjon av romanen og hvordan adaptasjonen føyer seg inn i norsk filmhistorie og i romanens resepsjons- og tolkningshistorie. Et viktig poeng i artikkelen er at filmen adopterer den modernistiske fortellemåten og formen fra romanen, og gjennom stumfilmsjangerens melodramatiske virkemidler bidrar til å fremme eller forsterke sentrale innovative, modernistiske trekk adoptert fra romanen.

Artikkelen undersøker hvordan Hamsun bruker skisser og skisseestetikker i sin prosa fra 1890 til tidlig 1900-tall. Dersom skissen via Alison Byerlys «Effortless Art: The Sketch in Nineteenth-Century Painting and Literature» kan teoretiseres som et sjangerbegrep, en teknikk, en estetikk og som et memento for hukommelsen (aide-mémoire), kan skissen sies å ha en rik og variert bruk i denne modernistiske delen av forfatterskapet. Hamsun bruker skisser, notater og kladder på ulike måter i sin prosa, og en avlesning av forfatterskapet med skissen som optikk kan derfor lansere begrepet både historisk, estetisk, litteraturkritisk og -historisk. I romanene Sult (1890) og Mysterier (1892) kan skissen sies å rekontekstualisere interne tekstgrep, mens i reiseboken I Æventyrland (1903) går forfatteren i direkte dialog med sine dagboksnotater for å konfigurere ulike motiver i verket og for å vise frem viktigheten av skissen ikke bare som en narrativ devise, men som en grunnleggende og integrert del av reiseprosjektet.