Denne artikkelen om Jean Gionos Récits de la demi-brigade viser hvordan forfatteren bruker elementer fra kriminalsjangeren for å reflektere omkring selve skriveprosessen. Giono "lurer" leseren til å tro at det dreier seg om kriminalfortellinger, men det viser seg fort at han "bryter sjangerkontrakten". Alle de 6 fortellingene kretser riktignok om forbrytelser og etterforskning. men helten, politimannen Martial, er høyst tvetydig. For ham er det selve jakten på forbryteren som er viktig, han har ingen interesse av å fange den skyldige. I disse tekstene blir jakten på forbryteren en metafor for skrivingen, kriminalgåten blir til skrivingens gåte.
In this paper the hero of Dostoevskij's novel “The Idiot”, Prince Myškin,
is compared to a more humble character of that book, Luk'jan Lebedev,
with special regard to their religious teaching and the Russian notions of
“jurodivyj” (“God’s fool”) and “šut” (“buffoon”). The paper concludes
with the assertion that the Prince concentrates on the bright aspects of
religion, while Mr. Lebedev, when provoked, emphasizes its more sinister
side.
In film history Robert Flaherty’s Nanook of the North (1922) is usually considered the first documentary and possibly one of the best known documentaries of the silent era. It has also been called the first ethnographic film, as well as the first art film. However, this paper will not discuss the question of whether Nanook is a
documentary, rather it will focus on the fact that there is not only one version of this film, but several different editions. This paper will show how some of the paratextual elements – first of all the different prefaces – change from edition to edition and what kind of influence this has on how viewers perceive the film.
Description:
This is the accepted version (final draft post review), reprinted with permission.