In this article, the religious narrative of the Fall charging Hamsun’s Hunger (1890) is related to the motive of creatureliness that figures in the thinking of Walter Benjamin – as an ongoing subjection under the transformations of sovereign power in modernity. In comparison with Rainer Maria Rilke’s The Notebooks of Malte Laurids Brigge (1910), it becomes clear that the motive of kenosis – God making himself the likeness of a servant – does not surface on the level of the fable in Hunger the way it does in Rilke. Whereas on the one hand Rilke’s Malte recognizes God in the figure of the stooping, blind newspaper vendor, on the other the protagonist in Hunger, desperately fighting to separate himself from fallen creation, finds himself animated by an urge to punish the correspondingly crippled character in the novel. Nevertheless, the article traces a kenotic or “self-emptying” movement even in Hunger, albeit on a performative level: As the negotiations on dignity are played out ad absurdum, the arbitrariness of sovereign power’s exclusion of “unworthy” life is displayed, thus being emptied out or deactivated in a comic register.
Walter Benjamin uses the figure das bucklichte Männlein in four texts, three of which are central to his thinking on and about history, memory, remembrance and messianism. This article argues that this figure, the “hunchbacked dwarf”, is key to understanding Benjamin’s later thinking, seeking to show how the figure is used to visualize problems regarding history, remembrance and politics. The hunchback is at once a destructive and a productive force. Its presence opens for temporal disruption, which in Benjamin’s case connotes directly to the understanding of time and of history. The disruption/remembrance-dialectic is used to problematize the construction of history, its political and theological impeachments, and the possibilities of revolutionary and/or messianic redemption that lie in the perception of history and the attentiveness of the writer of history. Das bucklichte Männlein, I argue, may be understood as a figure opening for a change in the perception of history, and thus in the construction thereof.
In the period 1844–1852, several Norwegian plays were written that deal in various ways with Jews in Norwegian society in the era of the Jewish paragraph. In this article I investigate the political tendency in three of them: Jøden (cirka 1844) by Andreas Munch, En Jøde i Mandal (1849) by Adolph Rosenkilde, and Den første Jøde (1852) by Christian Rasmus Hansson. These comedies portray and thematize Jews, and they can be considered as posts in the debate about the Jewish paragraph. A key issue for the article is to investigate how the playwrights exploit the plays’ opinion-forming potential for conveying positive attitudes towards Jews and the idea that the Jews have a place in Norwegian society, but it also examines the different attitudes towards Jews that are voiced in the comedies.
The article deals with Ernst Jünger’s debut novel, In Stahlgewittern (1920), from the perspective of the writer’s position in contemporary debates about the means and objectives of the novel genre. The first part sets out to give an overview of Jünger’s authoritarian poetics, while the second part attempts to show how this is realised by discarding modern novel characteristics such as polyphony and dialogue in favour of the dominating voice of the narrator. Leaning on key concepts from Mikhail Bakhtin’s genre investigations, I try to illustrate how the epic or anti-polyphone structure of the work is intimately connected to Germany’s development towards authoritarianism in the 1920s and 1930s, more specifically the way this is portrayed in Jünger’s long essay Der Arbeiter – Herrschaft und Gestalt (1932).
Norsk Litteraturvitenskapelig tidsskrift
1–2019, årgang 22
Norsk litteraturvitenskapelig tidsskrift (NLvT) er et tidsskrift for allmenn litteraturvitenskap. Utgangspunktet er de senere års sterke vekst i faget allmenn litteraturvitenskap, men NLvT henvender seg også til litteraturforskere som sogner til språkfagene, filosofi eller andre estetiske disipliner. NLvT ønsker å legge forholdene til rette for bedre kommunikasjon og diskusjon litteraturforskere imellom.
Britt Andersen, NTNU (hovedredaktør)
Marit Grøtta, Universitetet i Oslo
Anders Kristian Strand, Universitetet i Bergen
Kjersti Bale, Universitetet i Oslo
Rolf Gaasland, Universitetet i Tromsø
Anna Forssberg Malm, Göteborgs Universitet
Toril Moi, Duke University
Ingrid Nielsen, Universitetet i Bergen
Frederik Tygstrup, Københavns Universitet
Hans H. Hauge, Aarhus Universitet
Dag Heede, Syddansk Universitet
Sats: Tekstflyt AS
ISSN Online: 1504-288X
Utgitt med støtte fra Nasjonalt tidsskriftkonsortium for humaniora og samfunnsvitenskap.
© Universitetsforlaget 2019