Espedalsvatnet believed that he was pressured into silence and took at all a victim. But an award-w

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Harshly: Kristin Helle-Valle had to endure harsh criticism, including from authors Tomas Espedal and Erling Gjelsvik, before the opening of the House of Literature in Bergen. Gender played a role in the debate, writes submitter.
HILDE KARI Skaftnesmo I have written thesis on the debate about Litteraturhuset in Bergen, with newspaper articles from 2011 and an interview with Kristin Helle-Valle as material. In the years before Litteraturhuset Bergen bna (LIB) opened was Kristin Helle-Valle subject of much criticism, especially from authors Tomas Espedal and Erling Gjelsvik. This criticism I have looked at.
The debate about Litteraturhuset was first characterized by many was powerful tired of all social debate began and ended with the same old regulars there in the capital, which Chris Tvedt described it in BA. Man wanted new voices, but primarily votes from Bergen or west coast. "Nobody" would have it
Yet Espedal and Gjelsvik it necessary to criticize litteraturhusprosjektet so powerful, that they created bna an impression that no authors in Bergen really wanted Litteraturhuset.
Much of the criticism went on that author environment in Bergen bna called for open meetings and generally more involvement of authors. But just before had Aslak Sira Myhre opened the first literature house in the country in Oslo. Nor did he would involve author environment with joint meetings or similar.
He had informal conversations bna with them and private tours before the house opened, but believed that joint meetings would create expectations for the house that was impossible to fulfill. Why was Helle-Valle criticized, while Sira Myhre was mainly celebrated? Can a man allow himself more than a woman?
Espedalsvatnet gradually harshly for his unfortunate statements about cultural audiences in general and women in their 50s in particular - popularly called "culture hags." Espedalsvatnet never talked about culture hags, there were others who did. "Culture Kjerringer
However, he let himself provoke to say that if all his readers were ladies of fifty, he would stop writing on the day. This put serious momentum in culture hag debate in autumn 2011.
Espedalsvatnet believed that he was pressured into silence and took at all a victim. But an award-winning writer who goes so hard out in his critique of culture people, women in their 50s, and one litteraturhusleder can not emerge as a credible victim.
The Bergen author who however came with the harshest bna statements about women, or rather one woman, however, was Erling Gjelsvik. His quotes are certainly entertaining, but not innocent:
"The project staggers forward on some high heels" he wrote. Helle-Valles relationship to the truth was, according Gjelsvik, "as confused as a dying fly in late summer, and then grabs one to fly swatter." Over the line
Gjelsvik spent his entire hefty rhetorical arsenal to make our point that Helle-Valle, bna in his opinion, was not qualified to lead the project, and even less actual Litteraturhuset. He used images that are far out of line discursive sexism, let bias and tried to push her out. That he failed does not attempt and methods less severe.
The metaphor about to snap to a dying fly, for example, bna how should one interpret it? Should Helle-Valle spanked with a fly snaps? Or should she outright taken the life of? Maybe something in between? Anyway this is a very unfortunate and voldsromantiserende image.
Helle-Valle even did not want to read a womanizing unravel the debate. She abstained from a possible victim role, which may well be understandable. It is not a good role to defend themselves from. But as I have interpreted Gjelsvik, however, there is no doubt that there is an element of misogyny in his writing. The question is whether it was Helle-Valles gender as the main problem was his or whether gender was only an instrument of power he used to spike one of Literature he said he would not have. Grumpy bna old men
Several research