Abstract
In his novels, from his debut in 1917 and unto his last novel in 1973, the Norwegian author Mikkjel Fonhus writes about what is in the periphery of our attention: the wilderness and the wild animals. Technology has done that a direct contact with nature is no longer necessary for us: what we relate to is more and more social and cultural practices. Fonhus investigates non-human perception and shows us how we share, or should share, the landscape with non-domestic animals.
Highlights
Mikkjel Fønhus and the Portrayal of Animals In his novels, from his debut in 1917 and unto his last novel in 1973, the Norwegian author Mikkjel Fønhus writes about what is in the periphery of our attention: the wilderness and the wild animals
I den amerikanske tradisjonen kan dyrene ikke snakke, og de har ikke klær, men de er sjelden i sentrum for fortellingen
Dyrene opptrer i jakthistorier der jegeren søker å vinne over naturen, men også å overta noe av styrken og vitaliteten til dyret de skyter
Summary
Mikkjel Fønhus and the Portrayal of Animals In his novels, from his debut in 1917 and unto his last novel in 1973, the Norwegian author Mikkjel Fønhus writes about what is in the periphery of our attention: the wilderness and the wild animals. Det er ikke rene dyrefortellinger det er snakk om, slik vi kan finne i bøker for små barn, der antropomorfiseringen av dyret er total, med den følge at innlevelse og identifikasjon blir lesemodus – som i den britiske tradisjonen, slik Atwood utlegger den. Fønhus kan som forteller følge dyret lenge, men vil før eller siden bringe mennesker inn i landskapet, for så å skifte perspektiv mellom dyr og menneske.
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