Men Livet lever: Hamsuns vitalisme fra Pan til Ringen sluttet

ISBN 978-82-326-1232-1 (trykt utg.) ISBN 978-82-326-1233-8 (elektr. utg.) ISSN 1503-8181

Doktoravhandlinger ved NTNU, 2015:288

Frode Lerum Boasson

Men Livet lever

Hamsuns vitalisme fra Pan til Ringen sluttet

Dokt or avhandling

Doktoravhandlinger ved NTNU, 2015:288Frode Lerum Boasson NTNU Norges teknisk-naturvitenskapelige universitet Avhandling for graden philosophiae doctor Det humanistiske fakultet Institutt for språk og litteratur

Frode Lerum Boasson

Men Livet lever

Hamsuns vitalisme fra Pan til Ringen sluttet

Avhandling for graden philosophiae doctor Trondheim, november 2015

Norges teknisk-naturvitenskapelige universitet Det humanistiske fakultet

Institutt for språk og litteratur

NTNU

Norges teknisk-naturvitenskapelige universitet Avhandling for graden philosophiae doctor Det humanistiske fakultet

Institutt for språk og litteratur

© Frode Lerum Boasson

ISBN 978-82-326-1232-1 (trykt utg.) ISBN 978-82-326-1233-8 (elektr. utg.) ISSN 1503-8181

Doktoravhandlinger ved NTNU, 2015:288 Trykket av NTNU Grafisk senter

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Det forundrer mig at nogen gidder sitte og læse mange, mange Bind for at skrive endda et. Hvorfor ikke heller gaa ut i Livet og skrive om det? For man skal bare ikke tro at Bøker ogsaa er Livet – likesalitt som mit Billede i Speilet ogsaa er mig.²

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Wer ist älter als die Edda und jünger als Edschmid? Wer ist sachlicher als Goethe und mystischer als die Offenbarung Johannis?

Wer ist heiterer als Dickens und

schmerzlicher als Munch? Es gibt nur zwei Antworten: Das Leben – und Knut Hamsun.³

Willi Wolfradt, 1919

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4 Georg Johannesens uttalelse ble overlevert av Jan Erik Vold i et intervju i Dagbladet 31.12.2005. Eirik Vassenden og Jørgen Sejersted drøfter Johannesens uttalelse og denne innfallsvinkelen til Hamsun i (Sejersted og Vassenden, 2009).

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5 Utstillingen «Livskraft – Vitalismen som kunstnerisk impuls» ble vist ved Munch-museet med en fyldig utstillingskatalog i perioden 17.02.2006–17.04.2006, mens «Livslyst.

Sundhed - Skønhed - Styrke i dansk kunst 1890–1940» ble vist med en enda mer omfattende katalog i perioden 12.09.2008–12.01.2009 ved Odense bys museer. En god oversikt over vitalismeforskningen i Danmark finnes i (Jørgensen, 2010b).

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6 Hamsuns nazisme er lagt frem flere ganger. De siste undersøkelsene finner man både hos (Kolloen, 2004) og (Haugan, 2006). Det er likevel først Tore Rem som virkelig får frem rekkevidden av Hamsuns «uforbeholdne forpliktelse på nazismen» (Rem, 2014: 145).

7 Thomas Mann iscenesatte seg selv hele livet som den «gode tysker» og da han gikk i land som eksilant i New York i 1938 svarte han en journalist om hvordan det var å forlate Hitler-Tyskland med en berømte frase: «Tyskland er hvor jeg er» Mann brukte senere vendingen flere ganger i opposisjon til Hitler-Tyskland. For mer om dette se (Kurzke, 2006: 451).

8 Det var riktignok sterk debatt rundt Ibsen-jubileets oppsetning av Peer Gynt i Giza, se for eksempel «Peer Gynt i Giza» av Tore Rem i Morgenbladet 26.10.2007.

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10 Uttalelsen ble gjengitt i flere medier, her sitert etter Dagsavisen 20. februar 2009, se http://www.dagsavisen.no/kultur/hamsun-pa-suppejakt-i-sentrum/

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11 Larsen var en fremtredende norsk antroposof, og hans ståsted har i senere tid vært diskutert i forbindelse med antisemittisme. Dette ble først et tema da idéhistoriker Jan Erik Ebbestad-Hansen fant et aforistisk verk med tittelen Jødeproblemet blant Larsens upubliserte verker, se Jan Erik Ebbestad-Hansen i Morgenbladet 10.10.2009 og Hans Fredrik Dahl i Dagbladet 18.10.2009.

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&7,:2*39*79* )* +47 &9 )*3 .)*414,.80* +4794103.3,*3 ;&7 +47 ,74;2&80*9 4, 12 «den nordiske viljens store epos i sin evige urform».

13 «politisk program, som et krav om å orientere seg etter 'Blut und Boden'».

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14 Jeg går nærmere inn i argumentasjonen i kapittelet om Markens grøde.

15 «Nyere Hamsun-forskere leser Markens grøde annerledes enn Nobelkomiteen og [Alfred] Rosenberg. Modernisten og ironikeren Hamsun fornekter seg heller ikke i denne teksten, tross det farlige sujettet. Hans notorisk usolidarisk fiktive forteller underminerer bestandig det tilsynelatende oppbyggelige, antihistoriske og den gang så forførerisk virkende budskapet».

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).04942.U -;47 .)*414,. 5*7 )*+.3.8/43 *7 )*9 *3-*91.,* 4, +&180*U 2*38 16 Se (McFarlane, 1956) eller også (Kirkegaard, 1975).

17 Kittang siterer Hans Heibergs «Arbeiderbevegelsen og litteraturen» som kan leses i (Rønning, 1975: 239).

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&28:3,/H7'7:0&;U.33,B7.4,89B7.:9;*081.3,2*)*389H77*.)E-.8947.80 18 Skrevet ut på denne måten kan Kittangs argument fremstå, slik Jon Langdal har påpekt, som en «manipulasjonsteknikk, som skapt for å viske bort det politisk ubehagelige hos Hamsun» (Langdal, 1999: 253). Kittangs argument medfører også en oppvurdering av modernismen fra tidligere epoker på en måte som minner om det Christopher Prendergast kaller en «modern form of ’antiquity’» (Prendergast, 2003: 95). Å skille «modernisme» fra tidligere litterære epoker på denne måten er imidlertid misvisende, slik Moi har gjort til et poeng i sin Ibsen-studie. Ved nærmere ettersyn er ikke realismen «formelt naiv og historisk passé», mens modernismen «derimot stråler som formelt selvrefleksiv og sofistikert og fortsatt historisk relevant» (Moi, 2006: 16). Et lignende argument fremmes også i danske diskusjoner av modernismebegrepets konsekvenser, hvor det er snakk om

«modernismekonstruksjonen» og ikke «modernismeideologien». Denne debatten representeres godt i antologien Modernismen til debat (2005), hvor for eksempel Anne- Marie Mai fremmer at realismen under «modernismekonstrukstionens vægt [tenderer] mod at blive en art baggrund for de farverige modernistiske figurgrupper» (Borup et al., 2005:

43).

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19 «Du store stjerne! Hva hadde vel din lykke vært, om du ikke hadde hatt dem som du lyser for!» (Nietzsche, 2011b: 10).

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9>)*1.,*7* 3B7 )*9 ,/*1)*70)#,1 %0?"#U 4, -*7 -&7 4,8B 5B89&3)*3* '1.99 8.9*794,,/*39&998B2&3,*,&3,*7&92&30&383&00*42&9)*-&73*)+*198*, . +47803.3,*3 3C72*89 842 *9&'1*79* 8&33-*9*7X^pn99*7 &9 .)*414,.07.9.00*3 -&))* 574'1*2&9.8*790)#,1%0?"#1 ':)80&5 842 57494Z3&?.89.80U '1* 4,8B 8&29.)87*8*58/43*38 ;*091*,,.3, &; )*9 8:85*09X 3)*7 4;*7807.+9*3 c:)80&5*9842'1*2.8+479410*9dU807.;*7499*2&93C72*89&11*07.9.0*73*

c81:99*9 :3.8439 455 42 742&3*38 ':)80&5dU c1& &;,/H7*3)* ;*09 5B 742&3*38.)*&1.89.80*4,455'>,,*1.,*8.09*2B1dU4,&90)#,1%0?"#c3*89*3 :9*3 :339&0d +.00 c*3 4;*7897H22*3)* 2499&0*18*d g499*2U pnnpW opuhX 20 Rottems påstander ble første gang publisert i artikkelen «Utopi på leirføtter» i 1983.

Artikkelen ble senere revidert som et kapittel i boken med den talende tittelen Hamsun og fantasiens triumf (2002). Noen eksempler på undersøkelser hvor Rottems påstander siteres eller gjentas, er hos (Fjeld, 2002, Nesby, 2008, Andersen, 2011).

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21 «I sannhet betyr Hamsuns kunst frigjøringen fra naturalismen».

22 «sjelens vivisektor».

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*33* '40*3 '1* . 1H5*9 &; )*9 +H789* B7*9 841,9 . -*1* qw 4551&, g*.I 4, 23 Den tyske Hamsun-resepsjonen har vært sammenfattet flere ganger. Hamsun-biografen Walter A. Berendsohn skrev allerede i 1929 en oversikt over Hamsun-resepsjonen i Tyskland med fokus på Hamsuns gjennombrudd og innflytelse (Berendsohn, 1929b). I 1965 tok Wilhelm Friese opp tråden og ga under tittelen «Das deutsche Hamsun-Bild» en systematisk og grundig redegjørelse (Friese, 1965). I forlengelsen av Frieses artikkel ble det en del diskusjon, særlig med hensyn til hvem som leste Hamsun og hvilken samfunnssjikt de tilhørte. Mens Friese fremhevet borgerskapet, vektla Annie Carlson bohemen og avantgarden, se (Carlsson, 1966). I nyere tid finner vi Heiko Ueckers undersøkelser fra både 1996 (Uecker, 1996) og 2008 (Uecker, 2008). I tillegg har Lars Frode Larsen skrevet et utfyllende kapittel om Hamsuns gjennombrudd og tidlige resepsjon (Larsen, 2002). Det foreløpig siste bidraget finner vi i Heming Gujords artikkel, (Gujord, 2009). Men det viktigste enkeltarbeidet er likevel fortsatt Gabriele Schultes avhandling Hamsun im Spiegel der deutschen Literaturkritik 1890 bis 1975 fra 1986, se (Schulte, 1986). Tross denne massive interessen er det få som har sett den ulike resepsjonen i sammenheng med oversettelsesteori og undersøkt i hvilken grad de ulike oversettelsene skiller seg fra hverandre, og slik skaper grobunn for de ulike resepsjonslinjene vi finner i de to språkområdene.

24 Hansson var ikke den første til å introdusere Hamsun i Tyskland. Det ser derimot ut til å ha vært den norske journalisten Harald Hansen. I det innflytelsesrike tidsskrift Freie Bühne für modernes Leben drevet av Hamsuns første tyske forlag, S. Fischer, skriver Hansen om Hamsuns bakgrunn og biografi og setter ham i sammenheng med Garborg som på samme tid opplevde stigende interesse (Hansen, 1890: 694–695). De to oversetterne Marie Herzfeld og Mathilde Prager følger opp Hansens første artikkel. Lars Frode Larsen skriver relativt utfyllende om dette i (Larsen, 2002: 109–142).