{"title":"“BEGÄRET ATT VETA” ELLER “BEGÄRET ATT NJUTA”?","authors":"Magdalena Wasilewska-Chmura","doi":"10.2307/j.ctvggx29s.32","DOIUrl":"https://doi.org/10.2307/j.ctvggx29s.32","url":null,"abstract":"","PeriodicalId":277121,"journal":{"name":"Transit – 'Norden' och 'Europa'","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116498463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"GEORG BRANDES BETWEEN NATIONS AND NARRATIONS.","authors":"Piotr de Boñcza Bukowski","doi":"10.2307/j.ctvggx29s.13","DOIUrl":"https://doi.org/10.2307/j.ctvggx29s.13","url":null,"abstract":"","PeriodicalId":277121,"journal":{"name":"Transit – 'Norden' och 'Europa'","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129662762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"FRIHET OG ROTLØSHET:","authors":"Martin Humpál","doi":"10.2307/j.ctvggx29s.19","DOIUrl":"https://doi.org/10.2307/j.ctvggx29s.19","url":null,"abstract":"","PeriodicalId":277121,"journal":{"name":"Transit – 'Norden' och 'Europa'","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132326521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The classical myth of Medea, a migrant and mother who kills her children after having been left by her husband, is one of the most challenging stories in literary history. Over 2500 years, the myth has travelled from southern Europe to the north and inspired many writers. This contribution focuses on three versions: the original Greek tragedy by Euripides (431 B.C.E.), Christa Wolf's German novel Medea: Stimmen (1996) and Sara Stridsberg's Swedish play Medealand (2011). What are the similarities and differences in these versions? What role do formal devices play in interpreting the myth? In Euripides' play, Medea is betrayed, desperate and cruel. She kills her sons because she wants revenge, a motive which is commented on by other female actors and the chorus in the play. Christa Wolf depicts Medea as a strong and loyal character, but as such she is perceived as a threat to patriarchal society. When her sons are killed, the murder is blamed on her. Readers of Wolf's novel learn this through the use of formal devices such as interior monologues. In the latest text on the myth, produced by Stridsberg, Medea kills her sons as the result of a psychic breakdown. Finding herself in the situation of a refugee with no rights and in a country where she has nobody to talk to or ask for help, she feels she has no other choice. Her situation is explicitly commented on by other characters in the play, which is due to the dramatic text's epic structure.
{"title":"MYTEN OM FLYKTNINGMOREN – MEDEIA FRA EURIPIDES TIL STRIDSBERG","authors":"Christine Hamm","doi":"10.2307/j.ctvggx29s.17","DOIUrl":"https://doi.org/10.2307/j.ctvggx29s.17","url":null,"abstract":"The classical myth of Medea, a migrant and mother who kills her children after having been left by her husband, is one of the most challenging stories in literary history. Over 2500 years, the myth has travelled from southern Europe to the north and inspired many writers. This contribution focuses on three versions: the original Greek tragedy by Euripides (431 B.C.E.), Christa Wolf's German novel Medea: Stimmen (1996) and Sara Stridsberg's Swedish play Medealand (2011). What are the similarities and differences in these versions? What role do formal devices play in interpreting the myth? In Euripides' play, Medea is betrayed, desperate and cruel. She kills her sons because she wants revenge, a motive which is commented on by other female actors and the chorus in the play. Christa Wolf depicts Medea as a strong and loyal character, but as such she is perceived as a threat to patriarchal society. When her sons are killed, the murder is blamed on her. Readers of Wolf's novel learn this through the use of formal devices such as interior monologues. In the latest text on the myth, produced by Stridsberg, Medea kills her sons as the result of a psychic breakdown. Finding herself in the situation of a refugee with no rights and in a country where she has nobody to talk to or ask for help, she feels she has no other choice. Her situation is explicitly commented on by other characters in the play, which is due to the dramatic text's epic structure.","PeriodicalId":277121,"journal":{"name":"Transit – 'Norden' och 'Europa'","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127677475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hans Christian Andersen is well known as a writer of fairy tales, but a corpus of travel books also constitutes a large part of his literary heritage. Influenced by the poetics of the novel, the focus of travel books shifted from images of foreign countries, landscapes and descriptions of unusual situations, to the inner world of the traveller, which might be more interesting for a reader than the external world. The narrator thus becomes the protagonist of the tale, bringing such travel books closer to fiction. It is argued that Andersen's fairy tale poetics has its roots in his travel books. These books include many stories, each of which could be considered a separate text. The first book, Skyggebillede (1831), was based on his trip to Germany and contains a number of small narratives similar to fairy tales published after 1835. Here, Andersen transformed the traditional form of travel book, with his poetic vision of Germany more important than reality, which was only the background for the author's fantasy. His later travel books, En digters bazar (1842) and I Sverige (1849), contain texts which were included in Andersen's collections of fairy tales and stories. Here, his images of European cities, nature and other famous sites are not mere descriptions but also romantic pictures where fairy tale fantasy plays a very important role.
{"title":"H.C. ANDERSEN’S TRAVEL BOOKS – A FAIRY-TALE VISION OF EUROPE","authors":"Andrey V. Korovin","doi":"10.2307/j.ctvggx29s.22","DOIUrl":"https://doi.org/10.2307/j.ctvggx29s.22","url":null,"abstract":"Hans Christian Andersen is well known as a writer of fairy tales, but a corpus of travel books also constitutes a large part of his literary heritage. Influenced by the poetics of the novel, the focus of travel books shifted from images of foreign countries, landscapes and descriptions of unusual situations, to the inner world of the traveller, which might be more interesting for a reader than the external world. The narrator thus becomes the protagonist of the tale, bringing such travel books closer to fiction. It is argued that Andersen's fairy tale poetics has its roots in his travel books. These books include many stories, each of which could be considered a separate text. The first book, Skyggebillede (1831), was based on his trip to Germany and contains a number of small narratives similar to fairy tales published after 1835. Here, Andersen transformed the traditional form of travel book, with his poetic vision of Germany more important than reality, which was only the background for the author's fantasy. His later travel books, En digters bazar (1842) and I Sverige (1849), contain texts which were included in Andersen's collections of fairy tales and stories. Here, his images of European cities, nature and other famous sites are not mere descriptions but also romantic pictures where fairy tale fantasy plays a very important role.","PeriodicalId":277121,"journal":{"name":"Transit – 'Norden' och 'Europa'","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130133470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Aaron Isaac is considered to be the first Jew who was allowed to settle and work in Sweden without being forced to convert to Christianity. After having arrived in Stockholm in 1774, he founded the first Jewish congregation and was involved in reforming the legal status of Jews. The Jewish minority was eventually given the right to live (in selected cities) and work (as merchants or craftsmen not organized by the guild system) in Sweden. Furthermore, Aaron Isaac became an author: his 'memoirs' are the topic of this article, in which I read his autobiographic book as a form of transgressive literature. The book describes Aaron's long and eventful journey across many borders from his German hometown to Stockholm. The book itself crosses many borders: written in a form of Yiddish-Swedish using Hebrew letters, it becomes almost impossible to decipher the text "correctly". Rather, the text demands that the reader copes with a literary no-man's-land.
{"title":"GRÄNSLAND – ETT (JUDISKT) ÄVENTYR MELLAN TYSKLAND OCH SVERIGE","authors":"Clemens Räthel","doi":"10.2307/j.ctvggx29s.27","DOIUrl":"https://doi.org/10.2307/j.ctvggx29s.27","url":null,"abstract":"Aaron Isaac is considered to be the first Jew who was allowed to settle and work in Sweden without being forced to convert to Christianity. After having arrived in Stockholm in 1774, he founded the first Jewish congregation and was involved in reforming the legal status of Jews. The Jewish minority was eventually given the right to live (in selected cities) and work (as merchants or craftsmen not organized by the guild system) in Sweden. Furthermore, Aaron Isaac became an author: his 'memoirs' are the topic of this article, in which I read his autobiographic book as a form of transgressive literature. The book describes Aaron's long and eventful journey across many borders from his German hometown to Stockholm. The book itself crosses many borders: written in a form of Yiddish-Swedish using Hebrew letters, it becomes almost impossible to decipher the text \"correctly\". Rather, the text demands that the reader copes with a literary no-man's-land.","PeriodicalId":277121,"journal":{"name":"Transit – 'Norden' och 'Europa'","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133047318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bestsellers play a pivotal role in the literary exchange between Scandinavia and the rest of Europe. During the 1940s and 1950s, the Dutch author Hans Martin (1886-1964) had huge success in Scandinavia. While his novels were little reviewed and officially the public library system was very reluctant to stock his novels, for two decades they were among the most bought and read novels in Denmark. Martin depicts a European jet set (business figures, artists) during the first half of the twentieth century and the difficulties of balancing family traditions, individual creative urge, career and love. By focusing on individualization and globalization, Martin's novels can to a certain extent be considered as a modernizing corrective to contemporary Danish popular literature (Morten Korch). Despite attempts to relaunch Martin's novel in paperback editions and book series in the 1970s, his books have been forgotten, probably replaced by other forms of popular media; for example, international TV series such as Dynasty and Dollars .
{"title":"EN HOLLÄNDSK BESTSELLERSUCCES I (EFTER) KRIGSTIDENS DANMARK","authors":"Ulrik Lehrmann","doi":"10.2307/j.ctvggx29s.23","DOIUrl":"https://doi.org/10.2307/j.ctvggx29s.23","url":null,"abstract":"Bestsellers play a pivotal role in the literary exchange between Scandinavia and the rest of Europe. During the 1940s and 1950s, the Dutch author Hans Martin (1886-1964) had huge success in Scandinavia. While his novels were little reviewed and officially the public library system was very reluctant to stock his novels, for two decades they were among the most bought and read novels in Denmark. Martin depicts a European jet set (business figures, artists) during the first half of the twentieth century and the difficulties of balancing family traditions, individual creative urge, career and love. By focusing on individualization and globalization, Martin's novels can to a certain extent be considered as a modernizing corrective to contemporary Danish popular literature (Morten Korch). Despite attempts to relaunch Martin's novel in paperback editions and book series in the 1970s, his books have been forgotten, probably replaced by other forms of popular media; for example, international TV series such as Dynasty and Dollars .","PeriodicalId":277121,"journal":{"name":"Transit – 'Norden' och 'Europa'","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126694185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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