Den sande helt i Lykke-Per er Jakobe

AbstractPer Sidenius, obviously, is the protagonist of Lykke-Per (A Fortunate Man), Henrik Pontoppidan’s novel. The heroine of the novel is, no doubt, Jakobe, the Jewish lady Per is engaged to. In this article, Lilian Munk Rösing, focuses on the erotic attraction between the main characters of the novel. Jakobe is, at the same time, attracted and repelled by the brute, “butcher-like” Per. Per, on his side, is fascinated by the Jewish lady of the world. Munk Rösing argues that his complex character exposes Per as “empty”, where as her complex character makes Jakobe the attractive object of love, not easily grasped and simplified

Kød, blod og ord. Om nadveren som litterært topos

The motif of the Eucharist seems, in different permutations, to persist in Western literature even in modern, secular times. This paper argues that the motif persists because it implies a discussion that is also central to literature: What is the relation between signifier and signified, vehicle and tenor – bread and body, wine and blood? Is it possible for the immaterial signified to become present in the materiality of the signifier? In his writings on the Eucharist Martin Luther insists that bread and wine do not represent the body and blood of Christ, they are his body and blood, because Christ has diffused into the world. The Eucharist implies the idea of the material presence of that which would in other cases be the absent signified of the signifier. This may be the reason why the Eucharist is a recurring metaphor in Marcel Proust, in his striving to make of his novel a cathedral where the reader receives the Eucharist wafer, like the madeleine cake that makes the past sensually present and possible to orally consume. The paper analyzes examples of the Eucharist motif from Proust, Paul Celan, Elfriede Jelinek, and the Danish contemporary author Bjørn Rasmussen, arguing the Eucharist to appear in texts that have a special interest in the way that the signified can or cannot be present in the material signifier, even when those texts are skeptical or critical towards the Christian discourse

DET UBEVIDSTE EKSISTERER IKKE, MEN DET INSISTERER

Denne artikel hævder med Lacan, at Freuds ubevidste er etisk. Spørgsmålet er ikke, om det ubevidste eksisterer, men at det insisterer. At tage ansvar for det ubevidste, at svare på dets insisteren, er psykoanalysens etiske fordring. Antagelsen af det ubevidste gør psykoanalysen til en universalisme, der i modsætning til den aktuelle dyrkelse af den partikulære identitet hævder, at enhver (enkeltperson eller befolkningsgruppe) er gennemtrukket af en fremmedhed i sin midte

Den sene Derrida, eller: Er Claus Beck-Nielsen et spøgelse?

Lilian Munk Rösing: Den sene Derrida, eller: Er Claus Beck-Nielsen et spøgelse

STRINDBERGS VREDE STEMME

STRINDBERG’S ANGRY VOICE | The article argues that the affect or emotion of a literary text could be regarded as a dimension of its voice and tone. ”Voice” is found on the level of the narrator, ”tone” on the level of the implied author. In cinematic metaphors the article proposes ”voice” to be analogous with the voice-over in film, and ”tone” to be analogous with the background music. The article develops its concept of textual voice from Horace Engdahl, and its concepts of affect, emotion and tone from Sianne Ngai. The literary text to be analysed is August Strindberg’s Le Plaidoyer d’un fou that is known as one of the texts in which he voices his monomaniac misogynist anger. The article tries to describe the quality of this angry voice through analysing structures of narration, genre, address, and style, discovering feverish volatility and paranoia to be its characteristics. The feverish volatility is shown to be linked to the shifting images of Woman that the text exposes. The paranoia is understood through Sianne Ngai’s definition of paranoia as an ”ugly feeling”, and jealous paranoia as connoting femininity. Thus the voice and tone of Strindberg’s text are discovered to be much more complex than simple misogynist aggression

Hard core encore

Lilian Munk Rösing: Hard core encore

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