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1

The Play With Genre: Knut Hamsun’s 'I Æventyrland'

100%

Storskog C.

Folia Scandinavica Posnaniensia

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2011

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vol. 13

19-31

EN

The purpose of this study is to explore Knut Hamsun’s I Æventyrland. Oplevet og drømt i Kaukasien (1903) as a text that interacts with some of the structural elements specific to the genre of travel literature. I have limited the investigation to the writer’s use of comparative rhetoric on a formal level, and to the function of conventional character types, with respect to content. The evaluation of these aspects of the narrative is undertaken with the aim of highlighting Hamsun’s awareness of and engagement with the tradition of travel writing and his talent for challenging its norms.

2

Proč Hamsunův Hlad není naturalistický román

89%

Humpál M.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2015

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vol. 52

47-51

EN

Knut Hamsun’s Hunger (1890, Sult) is nowadays often regarded as one of the first Scandinavian, or even European, modernist novels. However, some have also classified it as naturalist. The author of the article claims that the text does contain some naturalist elements, but this alone is not a sufficient argument for considering the novel to be naturalist as a whole. The article offers several arguments as to why it is inappropriate to designate Hunger as a naturalist work and supports those readings of the novel that see it as representing a modernist break with realist and naturalist aesthetics.

3

Natura (nie)odzyskana. Pan Knuta Hamsuna

54%

Kruszelnicki M.

Przestrzenie Teorii

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2017

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issue 28

EN

The Norwegian novelist Knut Hamsun’s outstanding early novel Pan. From Lieutenant Thomas Glahn’s Papers (1894) is often acknowledged as a manifestation of the specificity and profundity of Hamsun’s perception of nature. Contrary to the prevailing opinion, I argue that the novel’s main protagonist cannot be simply seen as the happily fulfilled “man of nature” for whom he wishes to pass. In a critical dialogue with the post-Romantic interpretations of Pan and drawing on some classic philosophical traditions (i.e. Rousseau, Schiller) as well as the modern Norwegian scholarship, I explore the psychological dimension of Hamsun’s masterpiece and present Glahn as an individual who attempts to erase or at least mystify within a personalized narrative the conflict between the objective world and his subjective perception of reality. This predicament seems essential to understanding Glahn’s character and ipso facto Hamsun’s less obvious position in the philosophical debate on the essence of modernity conceived as “Disenchantment”. By carefully following Glahn’s narratives centered on his experience of nature, I reveal their artificial and simulating character. Such a reading allows me to argue that Hamsun’s Pan concurs in a subtler language of literature with the philosophical acknowledgement, dating back to Rousseau, of the impossibility of the individual’s return to the pre-modern time, as if to the realm of original, transcendental sense and immediacy of our experience of the world. The horizons of the modern – perhaps suffice to say: mature? – historicized and highly reflexive consciousness cannot be transgressed; the Romantic sensitivity, in its naïve search for the authentic experience of nature as a source of the self and the sense, can only regain it in discourse, which amounts to positing nature as a beautiful appearance and thus compensating for one’s dramatic feeling of alienation from nature and being conceived of as a metaphysical “wholeness”.

4

Om å vandre i Kristiania og Oslo. Byen i Knut Hamsuns Sult (1890) og Jan Kjærstads Rand (1990)

51%

Tunkiel K.

Folia Scandinavica Posnaniensia

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2010

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vol. 11

77-86

EN

The purpose of the paper is to compare the images of Oslo, formerly Kristiania, in two Norwegian novels, Hunger (1890) by Knut Hamsun and Rand (Brink, 1990) by Jan Kjærstad. The analysis is based on the fact that the main characters in both works wander around the Norwegian capital. Following problems are discussed in the paper: the protagonists’ relation to the city and the other, their alienation and similarity with the classical figure of the flâneur. The topography of the city in both novels and the role it plays for the main characters is also shortly described.

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2 Folia Scandinavica Posnaniensia

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1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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1 Humpál M.

1 Kruszelnicki M.

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1 Tunkiel K.

The Play With Genre: Knut Hamsun’s 'I Æventyrland'

Proč Hamsunův Hlad není naturalistický román

Natura (nie)odzyskana. Pan Knuta Hamsuna

Om å vandre i Kristiania og Oslo. Byen i Knut Hamsuns Sult (1890) og Jan Kjærstads Rand (1990)