@article{Bartnæs_2010, title={Hav, hage, teater og temperatur i Cora Sandels <i>Alberte</i>-bøker}, url={https://septentrio.uit.no/index.php/nordlit/article/view/1049}, DOI={10.7557/13.1049}, abstractNote={Current readings of Cora Sandel&amp;rsquo;s &lt;em&gt;Alberta&lt;/em&gt;-trilogy (1926-1939) frequently tend to reuse the novels&amp;rsquo; imagery in their own descriptive and interpretive statements &amp;ndash; instead of treating this characteristic of the novels with the same degree of attention as, e.g., the trilogy&amp;rsquo;s psychological and political aspects, or its narrative technique. The present article attempts to draw attention to the trilogy&amp;rsquo;s imagery as a both autonomous and integral element in Cora Sandel&amp;rsquo;s novelistic art. Three metaphorical ways of thought which show their presence throughout the trilogy, are singled out: In the novels, the persons (and thus, implicitly or explicitly, the human condition) are frequently pictured as being situated on the high sea, in a garden or in a theatre. In the &lt;em&gt;Alberta&lt;/em&gt;-trilogy, these time-honoured metaphors are the object of a refined practice of re-contextualization. In my attempt to trace this process, I draw special attention to the relationship between these metaphorical fields and the trilogy&amp;rsquo;s pervasive use of thermal imagery. In each case, I attempt to show that the thermal descriptions that are associated with the metaphorical views of human existence as a boat trip, a garden sojourn or a theatre performance have a central function in Cora Sandel&amp;rsquo;s use of these images.}, number={26}, journal={Nordlit}, author={Bartnæs, Morten}, year={2010}, month={Oct.}, pages={31–54} }