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Report of the President for the Society for the Advancement of Scandinavian Study 斯堪的纳维亚研究促进协会主席的报告
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.5406/SCANSTUD.93.1.0159
Julie K. Allen
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引用次数: 0
A Ballad and a Movie: Scandinavian TSB B21 and Ingmar Bergman’s The Virgin Spring 一首歌谣和一部电影:斯堪的纳维亚TSB B21和英格玛·伯格曼的《处女之春》
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.5406/21638195.94.1.05
P. Acker
Ingmar Bergman’s 1960 Jungfrukällan (The Virgin Spring) is unusual among his films in that it does not derive from the auteur director’s own, original screenplay but rather from a medieval source text (a Swedish ballad), which was then adapted for the screen by Ulla Isaksson. In a radio interview conducted just before the premiere of Jungfrukällan in 1960, Bergman says that he first read the source ballad while in university, from Sverker Ek’s 1924 anthology Den svenska folkvisan (The Swedish Ballad), where its title is “Töres dotter i Vänge” (The Daughter of Töre in Vänge).1 Bergman first considered producing a version for the ballet, but then, while on the set of Smultronstället (1957; Wild Strawberries), he decided instead to make a film adaptation (Billquist 1960, 206). He sent the ballad to Isaksson, with whom he worked on his next film, Nära livet (1958; Brink of Life or Close to Life), about three women in a maternity ward. Ulla Isaksson wrote the screenplay for Brink of Life based on two short stories she had published in 1954.2 In 1957, Bergman had scripted and directed another now classic film based on a medieval subject, Det sjunda inseglet (The Seventh Seal), so film critics have sought to explain why he turned to Isaksson for the equally medieval-themed Virgin Spring. Bergman himself said that sometimes (in those days) he just
英格玛·伯格曼1960年的《处女之泉》(Jungfrukällan,《处女之春》)在他的电影中不同寻常,因为它不是源于这位导演自己的原创剧本,而是源于中世纪的原始文本(一首瑞典民谣),后来由乌拉·伊萨克森改编成电影。1960年,在《Jungfrukällan》首演前的一次电台采访中,伯格曼说,他在大学时第一次读到了源曲,源曲来自斯维克尔·埃克1924年的选集《Den svenska folkwisan》(《瑞典歌谣》),书名是“Töres dotter i Vänge”(《Töre的女儿》)。1伯格曼最初考虑为这部芭蕾舞剧制作一个版本,但后来,在《Smultronstället》(1957;《野生草莓》)的片场,他决定改编电影(Billquist 1960206)。他把这首民谣寄给了伊萨克森,并与伊萨克森合作了他的下一部电影《Nära livet》(1958年;《生命的边缘》或《接近生命》),讲述了产科病房里的三个女人。Ulla Isaksson根据她在1950年出版的两部短篇小说为《生命的边缘》撰写了剧本。4.2 1957年,伯格曼又为另一部以中世纪题材为基础的经典电影《第七封印》(Det sjunda inseglet)编剧并执导,因此影评人试图解释他为什么选择Isaksson拍摄同样以中世纪为主题的《处女之泉》。伯格曼自己说过,有时(在那些日子里)他只是
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引用次数: 0
Financial Report of the Executive Director for 2020 执行董事2020年财务报告
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.5406/21638195.94.1.11
Kimberly J. La Palm
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引用次数: 0
Icelandic Folklore and the Cultural Memory of Religious Change by Eric Shane Bryan (review) 《冰岛民俗与宗教变迁的文化记忆》作者:埃里克·肖恩·布莱恩
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2022-03-17 DOI: 10.5406/21638195.94.1.06
Andrew McGillivray
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引用次数: 0
The Syntax of Mainland Scandinavian 斯堪的纳维亚大陆的句法
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2021-12-01 DOI: 10.5406/scanstud.93.4.0595
John D. Sundquist
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引用次数: 0
Audiences and Ideological Work in the "Dream Factory": Halldór Laxness and Cinematic Modernity 观众与“梦工厂”中的思想工作:哈多尔·拉克斯内斯与电影现代性
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.5406/scanstud.93.4.0443
Björn Þór Vilhjálmsson
Halldór Laxness was twentyfive years old when he arrived in Los Angeles, California, in the Fall of 1927. The movies, and they were the reason he came, were not much older. While it might seem facile to speak of the congruence of youthful energies, Laxness’s arrival in L.A. in the late 1920s was not a coincidence. From shortly after its inception, the world film market had been characterized by international competition for global motion picture prominence, a struggle that had been proceeding along a variety of avenues for close to 2 decades but was, by the time of Laxness’s arrival, pretty much settled in Hollywood’s favor (Thompson 1985, 124–48). For those who sought a career in the movies, there were few places that could equal the luster and promise of Hollywood.2
1927年秋天,霍尔德·拉克斯内斯抵达加利福尼亚州洛杉矶时,年仅25岁。电影,也正是他来的原因,并没有老多少。虽然说年轻人的能量是一致的似乎很容易,但拉克尼斯在20世纪20年代末来到洛杉矶并不是巧合。从成立后不久,世界电影市场就以争夺全球电影知名度的国际竞争为特征,这场斗争在近20年的时间里一直在各种途径上进行,但在拉克尼斯到来时,几乎已经对好莱坞有利(Thompson 1985124-48)。对于那些想从事电影事业的人来说,几乎没有什么地方能与好莱坞相提并论
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引用次数: 1
Investigating the Lutheran Roots of Social Democracy in Ingeborg Holm 调查英格堡霍尔姆社会民主的路德教根源
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.5406/scanstud.93.4.0505
Mads Larsen
The United States is among the developed world’s most incomeunequal countries, American health care and education are uniquely expensive, and youth depression is on a sharp rise1 (Twenge et al. 2019). The Nordic countries are among the most income-equal, health care and higher education are generally free, and Scandinavians rank among the happiest people in the world (Oxfeldt, Nestingen, and Simonsen 2017). These differences could explain why 50 percent of young Americans would “prefer living in a socialist country” (Harris Poll 2019). The Nordic Model is not socialist by the term’s original definition of “state or collective ownership and regulation of the means of production.” In America, socialism has generally become understood as “liberal social democracy which retain[s] a commitment to social justice and social reform.” The Oxford English Dictionary has adjusted its definition accordingly.2 Bernie Sanders and Alexandria Ocasio-Cortez both denounce Soviet or Cuban-style socialism, emphasizing their preference for Scandinavian welfare (CBS News 2019; Washington Post 2015). With liberal economics under global challenge, the United States is only one of many places where the Nordic Model has been suggested as an alternative that could reform capitalism. If these Northern European countries produce
美国是发达国家中收入最不平等的国家之一,美国的医疗保健和教育非常昂贵,青少年抑郁症急剧上升1 (Twenge et al. 2019)。北欧国家是收入最平等的国家之一,医疗保健和高等教育通常是免费的,斯堪的纳维亚人是世界上最幸福的人之一(Oxfeldt, Nestingen, and Simonsen 2017)。这些差异可以解释为什么50%的美国年轻人“更喜欢生活在社会主义国家”(哈里斯民意调查2019)。按照“国家或集体所有制和对生产资料的监管”这一术语最初的定义,北欧模式并不是社会主义。在美国,社会主义通常被理解为“自由的社会民主主义,保留了对社会正义和社会改革的承诺。”牛津英语词典据此调整了其定义伯尼·桑德斯和亚历山大·奥卡西奥-科尔特斯都谴责苏联或古巴式的社会主义,强调他们更喜欢斯堪的纳维亚式的福利(CBS新闻2019;《华盛顿邮报》(2015)。在自由主义经济学面临全球挑战的情况下,北欧模式被认为是改革资本主义的另一种选择,美国只是其中之一。如果这些北欧国家生产
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引用次数: 2
Liv Becomes an Author: On Literary Creativity and Strategic Postponement in Liv Køltzow's "Øyet i treet" Liv成为一名作家:论Liv Køltzow的《Öyet i treet》中的文学创造力和战略延迟
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.5406/scanstud.93.4.0533
Anders M. Gullestad
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引用次数: 0
Litteratur som erfaring: Modernisme og modernitet fra Obstfelder til Kjærstad by John Brumo (review) 文学体验:从Obstfield到Kjærstad City的现代主义和现代性John Brumo(综述)
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.5406/scanstud.93.4.0599
Benjamin Bigelow
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引用次数: 0
The "Troll-Girl Revelation" Motif: Female Infantile Sexuality and Pedophilia in Hálfdanar saga Brönufóstra and Jökuls þáttr Búasonar “巨魔女孩启示”主题:Hálfdanar saga Brönufóstra和Jökuls þáttr Búasonar中的女性婴儿性行为和恋童癖
IF 0.4 4区 社会学 Q1 Arts and Humanities Pub Date : 2021-11-16 DOI: 10.5406/scanstud.93.4.0553
Matthew Harold Roby
This article considers the sexual, gendered, and age-based ramifications of a recurrent motif in medieval Icelandic saga literature that I call the “troll-girl revelation.”1 Despite its popularity, appearing formulaically in four sagas attested from the late medieval and early modern periods, as well as more obliquely elsewhere, this trope has received remarkably little scholarly attention. In this story pattern, the male protagonist encounters a group of hostile troll-women, who display varying—including extreme—degrees of sexual boldness. Saga heroes are not infrequently confronted by such libidinous, supernatural females and, as a default response, the protagonist summarily dispatches these foes. As is also common in such altercations, the protagonist participates to varying extents in the troll-women’s eroticization, including via his symbolically sexual use and abuse of these figures as he conquers them. The sexual aggression of these women is thus
这篇文章考虑了中世纪冰岛传奇文学中一个反复出现的主题的性、性别和基于年龄的影响,我称之为“巨魔女孩启示”。1尽管它很受欢迎,在中世纪晚期和现代早期的四个传奇中公式化地出现,在其他地方也更为间接,但这个比喻很少受到学术关注。在这个故事模式中,男主角遇到了一群充满敌意的巨魔女性,她们表现出不同程度的性勇气,包括极端程度的性大胆。传奇英雄们经常遇到这种性欲旺盛、超自然的女性,作为默认的回应,主角会立即派出这些敌人。在这种争吵中也很常见,主人公在不同程度上参与了巨魔女性的色情化,包括在征服这些人物时对这些人物进行象征性的性使用和虐待。因此,这些妇女的性侵犯
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引用次数: 1
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