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  • 1.
    Edholm, Roger
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Att skriva om sig själv: Självbiografi, fiktion och exemplet Philip Roth2014In: Berättande - Liv - Mening: Fakta & fiktion, biografi, narrativ metod / [ed] Greger Andersson, Christina Carlsson Wetterberg, Carina Lidström, Sten Wistrand, Örebro: Örebro universitet , 2014, p. 81-90Chapter in book (Other academic)
  • 2.
    Edholm, Roger
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Den litterära sanningen: Refentialitet och litteraritet i Karl-Ove Knausgårds Min Kamp2016Conference paper (Other academic)
  • 3.
    Edholm, Roger
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Det är inte sant, men det är likväl sant: Litteraritet, referentialitet och gränsöverskridandets etik i Karl Ove Knausgårds Min kamp2018In: Edda. Nordisk tidsskrift for litteraturforskning, ISSN 0013-0818, E-ISSN 1500-1989, Vol. 105, no 4, p. 304-321Article in journal (Refereed)
    Abstract [sv]

    Karl Ove Knausgårds Min kamp har kallats en «litterär kentaur» och beskrivits som ett verk som suddar ut gränserna mellan litteratur, självbiografi och fiktion. Forskningen har ofta riktat in sig på att klassificera sexbandsverket genremässig och många har betraktat Min kamp som en sammansmältning av olika genrer. Verket har betecknats med hjälp av hybridbeteckningar eller neologismer, som till exempel «autofiktion» och «fiktionsfri fiktion». I föreliggande artikel är den dominerande frågeställningen inte vilket slags verk Min kamp är, utan diskussionen rör istället vad det innebär att läsa böckerna både som referentiell självframställning och som ett litterärt verk. Artikeln argumenterar för att Min kamp karakteriseras av en förhandling mellan olika sanningsanspråk och skilda tolkningsramar. Läsaren av Min kamp ställs också inför en särskild etisk problematik eftersom skildringen av verkliga personer hamnar i konflikt med Knausgårds strävan efter att skriva fram sig själv som ett autonomt subjekt inom ett «slutet» litterärt verk.

  • 4.
    Edholm, Roger
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    Family Framing and the Comedy of Conventions in Ruben Östlund's Force Majeure2018In: Nordic Journal of Aesthetics, ISSN 2000-1452, E-ISSN 2000-9607, Vol. 27, no 55-56, p. 116-133Article in journal (Refereed)
    Abstract [en]

    Ruben Östlund’s Force Majeure centres around a Swedish family vacationing at a ski resort in the Alps. The film depicts how the family breaks down after the father leaves his wife and children behind while fleeing from a possible avalanche. This breakdown is reflected in the film’s use of framing. In the opening scenes, the viewer is presented with a series of family portraits. After the averted disaster, the family is no longer shown as a coherent whole. Framing in Force Majeure is thus as a technical as well as a thematic matter related to the film’s exploration of the nuclear family. Framing is also connected to the comedic characterization of the family that the film depicts. Rather than identifying with them, the viewer is invited to critically reflect upon their self-image and their actions. The focus of this essay is therefore the concept of framing in connection with the film’s theme of family and certain comedic conventions. Force Majeure is symmetrically structured and the narrative progression adheres to a traditional plot-pattern moving from the disruption of order to the restoration of order. Yet, the film also flaunts its structure and makes the viewer aware of the clichés of conventional storytelling as these clichés and conventions are reproduced in the lives of the main characters.

  • 5.
    Edholm, Roger
    Mid Sweden University, Faculty of Human Sciences, Department of Humanities.
    The Narrator Who Wasn’t There: Philip Roth’s The Human Stain and the Discontinuity of Narrating Characters2018In: Narrative (Columbus, Ohio), ISSN 1063-3685, E-ISSN 1538-974X, Vol. 26, no 1, p. 17-38Article in journal (Refereed)
    Abstract [en]

    By discussing The Human Stain by Philip Roth, this article aims toquestion the standard view of fictional narratives as being told by a narrator and as beingformal imitations of natural narrative discourse. In my discussion on Roth’s novel,I demonstrate how the concept of the narrator can start to produce interpretations ofa literary work. Although critics discussing this particular novel are not always narratologists,the concept is theory-laden and therefore presents a preconceived notionof who the narrator is as well how to approach so-called first-person fiction. In TheHuman Stain, the character of Nathan Zuckerman appears as a narrating-I, yet attainsdifferent functions throughout the literary work, besides that of “telling.” By using thisexample, I argue for a rhetorical and aesthetic approach to narrating characters. Narratingcharacters are viewed as products of the authorial discourse rather than producersof narrative discourse or sources of narrative information. The topic discussedin this article is thus an example of the conflict between certain narratological coreconcepts, defined within a given theoretical paradigm, and the practice of reading narrativefiction. The rules and conventions governing that practice should be the focusfor any rhetorical approach to fiction, yet narratological distinctions might contradictour readerly responses and appear counterintuitive to how literary works communicatewith us as readers of literary fiction, as the reception of Roth’s novel demonstrates.

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