Search

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]