Bevidsthed i skønlitteraturen - En undersøgelse af litterær karakterdannelse i Christina Hesselholdts roman "Camilla - og resten af selskabet"

Sofie Kousgaard Andersen & Ida Bødker

Studenteropgave: Kandidatprojekt


This project has investigated the creation of consciousness in fictive characters in Christina Hesselholdt’s novel Camilla - og resten af selskabet (2010), with Virginia Woolf’s authorship and more specifically her novel The Waves (1931) as supplement. Hesselholdt’s literary techniques are very similar to Woolf’s on several points, including introducing a narrator with little involvement in the telling and shaping of the story, granting the characters more authority and independence than is the case with much of the earlier literature. Moreover, Hesselholdt refers to Woolf both directly throughout the whole novel and indirectly with for example her chapter Et sjæleteater eller Hele selskabet, where she adopts Woolf’s literary style of writing, bearing many similarities to The Waves. This use of intertextuality connects Hesselholdt with Woolf, which is the reason why we have chosen to work with these two authorships so closely. With Dorrit Cohn’s theory of Transparent Minds (1978) we have been able to more closely examine the narrative techniques for rendering consciousness in novels, concluding that Hesselholdt mainly makes use of first persons narratives that are self-narrated, self-cited monologue and self-narrated monologue, but also, for one specific character, deters from the first person narration and instead employs quoted monologue of the third person narration, a quotation that is so scarce of everything else that the narrator almost seems non-existent. Furthermore, we have used Mikhail M. Bakhtin’s terms dialogic, author, polyphony and his examination of the character’s importance in novels to broaden the study of the consciousness of literary characters to also include a social and contextual aspect. With this, we have been able to conclude that many of Hesselholdt’s characters partake in creating each other, and that they are each constituted of language that are part of the real world and thus are in connection with reality. This furthermore introduces the importance of the reader as an active part in the creation of the characters and their consciousness, an argument that Woolf herself supports in her essay Character in Fiction (1924).

UddannelserDansk, (Bachelor/kandidatuddannelse) Kandidat
Antal sider90
VejledereCharlotte Engberg


  • Dorrit Cohn
  • Mikhail Bakhtin
  • Christina Hesselholdt
  • Virginia Woolf
  • Litterær karakterdannelse
  • Bevidsthed
  • Gérard Genette
  • Modernisme
  • Fiktion
  • Skønlitteratur
  • Narratologi
  • Romanteori
  • Mimesis
  • Virkelighedsrepræsentation
  • Autor
  • Dialog
  • Polyfoni
  • Flerstemmighed
  • Læserens rolle
  • Alan Palmer