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Ph.D. Afhandling 2018 Nyboe Genresignatur Ukonventionelle genremærkater som retorisk og æstetisk virkemiddel i skønlitteraturen Nyboe, Jacob Ølgaard Publication date: 2018 Document version Også kaldet Forlagets PDF Document license: CC BY-NC-ND Citation for published version (APA): Nyboe, J. Ø. (2018). Genresignatur: Ukonventionelle genremærkater som retorisk og æstetisk virkemiddel i skønlitteraturen. Det Humanistiske Fakultet, Københavns Universitet. Download date: 05. okt.. 2021 Genresignatur Ukonventionelle genremærkater som retorisk og æstetisk virkemiddel i skønlitteraturen Ph.d.-forhandling Jacob Ølgaard Nyboe 1 Genresignatur Ukonventionelle genremærkater som retorisk og æstetisk virkemiddel i skønlitteraturen En ph.d.-forhandling af Jacob Ølgaard Nyboe Institut: Institut for Nordiske Studier og Sprogvidenskab Københavns Universitet Tryk: Publikom/Grafisk Hovedvejleder: Lektor, dr.phil. Sune Auken, Københavns Universitet Medvejleder: Professor, Ph.D. Amy Devitt, University of Kansas Indleveringsdato: 31. august 2017 2 Es ist gleich tödlich für den Geist, ein System zu haben und keins zu haben. Er wird sich also wohl entschliessen müssen, beides zu verbinden.1 (Friedrich Schlegel) Den litterære cirkulations udvikling (takket være såvel tekniske som sociale årsager) i løbet af de seneste århundreder har som konsekvens en ekstrem multiplikation af mulige generiske modeller, således at moderne teksters meget forcerede generiske aktivitet (forbundet med den mere og mere udtalte refleksivitet i den såkaldt seriøse litteratur) resulterer i en sådan mangfoldighed af genrer, at det er meget vanskeligt at etablere klassifikationer. (Jean-Marie Schaeffer) Any attempt to clarify the value of literature must surely engage the diverse motives of readers and ponder the mysterious event of reading, yet contemporary theories give us poor guidance on such questions. We are sorely in need of richer and deeper accounts of how selves interact with texts. (Rita Felski) Because of the formal undefinability of literary fiction – a non-generic genre – genre becomes a dynamic and mutable property of its marketing, in which fashions change and shape literary taste, and novels (and indeed works of non-fiction) which are situated at the borders of literary and other genres offer some of the most revealing sites of negotiation to the analyst. (Claire Squires) 1 Dette motto er tyvstjålet fra Gérard Genettes Figures of Literary Discourse, der altså også klinger med. Man kan tale om en paratekst i anden potens. 3 Indhold 1. Forord ........................................................................................................................................................ 7 2. Metaindledning ......................................................................................................................................... 8 3. Afhandlingens opbygning ........................................................................................................................ 13 4. Materialeredegørelse .............................................................................................................................. 15 5. Empiri og metode .................................................................................................................................... 19 6. Teoretisk positionering ............................................................................................................................ 27 7. The Game of the Name: Genre Labels as Genre and Signature (artikel 1)............................................. 31 7.1 Judging the Book by (Some of) Its Cover ......................................................................................... 31 7.2 The Genre Label as Genre ............................................................................................................... 34 7.3 Genre Signature – Definition and Subcategories ............................................................................ 36 7.4 Genre Signature as Action ............................................................................................................... 38 7.5 Genre Signature as Uptake and Not-Statement .............................................................................. 39 7.6 Genre Signature as Creativity and Instability .................................................................................. 42 7.7 Leaving Literature/The Call of the Climate ...................................................................................... 44 7.8 Performing the Signature/The Reluctant Poem .............................................................................. 48 7.9 Works Cited ..................................................................................................................................... 52 8. Vægelsind og vildskab – Skinnebachs skingre genreleg (artikel 2) ......................................................... 55 8.1 Rastløs roman .................................................................................................................................. 57 8.2 I et sår i en skov i tanken ................................................................................................................. 59 8.3 Digte og digt imellem....................................................................................................................... 60 8.4 Konebogen – en indlejret genresignatur ......................................................................................... 63 8.5 Romanen vender tilbage? ............................................................................................................... 65 8.6 Multimodale popsange .................................................................................................................... 66 8.7 Titelløs poetik .................................................................................................................................. 67 8.8 Elegisk erindring .............................................................................................................................. 69 8.9 Mikrokatalog og makrokatalog ........................................................................................................ 70 8.10 Free Jazz i Dybbølsgade ................................................................................................................... 71 8.11 Titelløs dagbog................................................................................................................................. 73 8.12 Slutsats............................................................................................................................................. 77 8.13 Postskriptum .................................................................................................................................... 77 4 8.14 Litteratur .......................................................................................................................................... 80 9. Roman, uroman, nyroman. Om genresignatur hos Svend Åge Madsen (artikel 3) ................................ 82 9.1 Skepsis og medløberi – genresignaturen i receptionen .................................................................. 83 9.2 Receptionsspejlet – anmeldelsen som selvprofilering og implicit genreprofil ............................... 84 9.3 Hvad uromanen ikke er – skitse til en pragmatisk romandefinition ............................................... 85 9.4 Det ubestemte – en flertydighedens poetik .................................................................................... 87 9.5 Polyfoni og paradokser – tekstens stemmer og intertekster .......................................................... 89 9.6 Nyroman – hvad uromanen måske er ............................................................................................. 96 9.7 Slutspil – signaturens signifikans ..................................................................................................... 97 9.8 Litteratur .......................................................................................................................................... 98 10. ”Den var ikke onkelagtig nok”. En empirisk undersøgelse af læserrespons på genresignaturer (artikel 4)....................................................................................................................................................... 100 10.1 Materialistisk indgangsbøn ............................................................................................................ 100 10.2 Baggrund........................................................................................................................................ 101 10.2.1 Begrebsafklaring og hypotese ............................................................................................... 101 10.2.2 Forskningsfelt ........................................................................................................................ 102 10.3 Forsøgsdesign – materiale og metode .......................................................................................... 103 10.3.1 Respondentgruppe og analyseobjekter ................................................................................ 103 10.3.2 Dataindsamlingsprocedure .................................................................................................... 103 10.3.3 Stikprøvestørrelse og repræsentativitet ............................................................................... 107 10.4 Resultater
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