Pub Date : 2022-10-01DOI: 10.5406/21638195.94.3.09
Leonie Marx
{"title":"Some Would Call This Living","authors":"Leonie Marx","doi":"10.5406/21638195.94.3.09","DOIUrl":"https://doi.org/10.5406/21638195.94.3.09","url":null,"abstract":"","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41605204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.5406/21638195.94.4.06
Ellen Rees
Evert Sprinchorn’s biography of the Norwegian dramatist Henrik Ibsen, Ibsen’s Kingdom: The Man and His Works, published by Yale University Press in 2020, is riddled throughout with errors and presents neither new information about “the Man” nor particularly insightful interpretations of “His Works.” Sprinchorn has missed what amounts to a revolution in historical and biographical research into Ibsen’s life spearheaded by Ivo de Figueiredo’s two-volume biography Henrik Ibsen: Mennesket (2006; Henrik Ibsen: The Human Being) and Henrik Ibsen: Masken (2007; Henrik Ibsen: The Mask).1 De Figueiredo’s groundbreaking study is now available in one volume in Robert Ferguson’s English translation, also published by Yale University Press (de Figueiredo 2019). The 2010 publication of Den biografiske Ibsen (The Biographical Ibsen) marks a major advancement in Ibsen scholarship overlooked by Sprinchorn; this collection of articles calls into question the historical accuracy of many of the persistent biographical tropes about Ibsen (Sæther, Dingstad, Kittang, and Rekdal 2010). Sprinchorn cites neither this important volume, nor any of the meticulously researched and compelling biographical, book-historical, and theaterhistorical findings by scholars such as Anette Storli Andersen, Ståle
{"title":"Tropes Revisited: Evert Sprinchorn's Ibsen's Kingdom: The Man and His Works and Recent Historical Research in Ibsen Studies","authors":"Ellen Rees","doi":"10.5406/21638195.94.4.06","DOIUrl":"https://doi.org/10.5406/21638195.94.4.06","url":null,"abstract":"Evert Sprinchorn’s biography of the Norwegian dramatist Henrik Ibsen, Ibsen’s Kingdom: The Man and His Works, published by Yale University Press in 2020, is riddled throughout with errors and presents neither new information about “the Man” nor particularly insightful interpretations of “His Works.” Sprinchorn has missed what amounts to a revolution in historical and biographical research into Ibsen’s life spearheaded by Ivo de Figueiredo’s two-volume biography Henrik Ibsen: Mennesket (2006; Henrik Ibsen: The Human Being) and Henrik Ibsen: Masken (2007; Henrik Ibsen: The Mask).1 De Figueiredo’s groundbreaking study is now available in one volume in Robert Ferguson’s English translation, also published by Yale University Press (de Figueiredo 2019). The 2010 publication of Den biografiske Ibsen (The Biographical Ibsen) marks a major advancement in Ibsen scholarship overlooked by Sprinchorn; this collection of articles calls into question the historical accuracy of many of the persistent biographical tropes about Ibsen (Sæther, Dingstad, Kittang, and Rekdal 2010). Sprinchorn cites neither this important volume, nor any of the meticulously researched and compelling biographical, book-historical, and theaterhistorical findings by scholars such as Anette Storli Andersen, Ståle","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"530 - 545"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46501336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.5406/21638195.94.4.07
R. Johnsen
{"title":"Geopolitics, Northern Europe, and Nordic Noir: What Television Series Tell Us about World Politics by Robert A. Saunders (review)","authors":"R. Johnsen","doi":"10.5406/21638195.94.4.07","DOIUrl":"https://doi.org/10.5406/21638195.94.4.07","url":null,"abstract":"","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"546 - 548"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43496443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.5406/21638195.94.4.01
Adèle Kreager
In Old Norse literature, landscape is a significant component of the grammar of a text. To take just three examples, consider Drangey in Grettis saga Ásmundarsonar: a sheer and unassailable island described as a “vígi” (Grettis saga Ásmundarsonar 1936, 218) [stronghold], where the outlaw Grettir makes his last stand. This “vígi” represents the ultimate topographical expression of Grettir’s progressive dislocation from society, a locus “symbolic of an incarcerated psyche” (Damico 1986, 11). Consider the body of water across which two hostile interlocutors hurl insults and negotiate identities in the eddic poem Hárbarðsljóð: “‘Hverr er sá karl karla / er kallar um váginn?’” (Hárbarðsljóð 2014, 389) [Who is that churl of churls who calls across the gulf?].2 This spatial threshold is structural to the speech-act that ensues, since it enforces verbal rather than martial combat. And consider the dynamic seascape of cliff, rock, and wave, conjured through cumulative kennings
在古挪威文学中，风景是文本语法的重要组成部分。举三个例子，看看格雷蒂斯传奇中的德拉盖：一个被描述为“维吉”（格雷蒂斯传奇，1936年218年）[据点]的纯粹而无懈可击的岛屿，不法分子格雷蒂尔在这里最后一次站起来。这个“vígi”代表了格雷蒂尔逐渐脱离社会的终极地形表达，这是一个“被监禁的精神象征”的场所（Damico 1986，11）。想想eddic诗歌Hárbarğsljóğ：“Hverr er sákarl karla/er kallar um váginn？”（Háerbarğsl jóabl 2014389）中，两个敌对的对话者在水体中辱骂和协商身份，因为它强制执行口头战斗而不是军事战斗。想想通过累积的kennings创造的悬崖、岩石和波浪的动态海景
{"title":"Encounters at the Mound in Old Norse Literature: Dialogues between Landscape and Narrative","authors":"Adèle Kreager","doi":"10.5406/21638195.94.4.01","DOIUrl":"https://doi.org/10.5406/21638195.94.4.01","url":null,"abstract":"In Old Norse literature, landscape is a significant component of the grammar of a text. To take just three examples, consider Drangey in Grettis saga Ásmundarsonar: a sheer and unassailable island described as a “vígi” (Grettis saga Ásmundarsonar 1936, 218) [stronghold], where the outlaw Grettir makes his last stand. This “vígi” represents the ultimate topographical expression of Grettir’s progressive dislocation from society, a locus “symbolic of an incarcerated psyche” (Damico 1986, 11). Consider the body of water across which two hostile interlocutors hurl insults and negotiate identities in the eddic poem Hárbarðsljóð: “‘Hverr er sá karl karla / er kallar um váginn?’” (Hárbarðsljóð 2014, 389) [Who is that churl of churls who calls across the gulf?].2 This spatial threshold is structural to the speech-act that ensues, since it enforces verbal rather than martial combat. And consider the dynamic seascape of cliff, rock, and wave, conjured through cumulative kennings","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"399 - 430"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45827207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.5406/21638195.94.4.02
Adriana Margareta Dancus
The figure of the young woman who leaks bodily wastes, struggles mentally, and behaves in ways that disgust and provoke is recurrent in Norwegian comics drawn and written by women in the late 2010s (e.g., Neverdahl 2017; Øverbye 2018; Solvang 2018; Tegnehanne 2019). There are several reasons why women cartoonists’ preoccupation with young female characters and disgust is worthy of critical attention. On the one hand, Norwegian comics have had a spectacular development in the last decade, gaining critical acclaim and popularity (Birkeland, Risa, and Vold 2018), becoming more inclusive and diverse once several women cartoonists made their debut in a medium traditionally dominated by male creators. On the other hand, while Norway has an international reputation as one of the most gender equal countries in the world (see, for example, the United Nation’s “Gender Inequality Index”2), national studies paint a more somber picture when it comes to the situation of young women in Norway. For example, recent
{"title":"Young Women and Disgust in Contemporary Norwegian Comics: A Close Reading of Ane Barstad Solvang's Frykt & medlidenhet","authors":"Adriana Margareta Dancus","doi":"10.5406/21638195.94.4.02","DOIUrl":"https://doi.org/10.5406/21638195.94.4.02","url":null,"abstract":"The figure of the young woman who leaks bodily wastes, struggles mentally, and behaves in ways that disgust and provoke is recurrent in Norwegian comics drawn and written by women in the late 2010s (e.g., Neverdahl 2017; Øverbye 2018; Solvang 2018; Tegnehanne 2019). There are several reasons why women cartoonists’ preoccupation with young female characters and disgust is worthy of critical attention. On the one hand, Norwegian comics have had a spectacular development in the last decade, gaining critical acclaim and popularity (Birkeland, Risa, and Vold 2018), becoming more inclusive and diverse once several women cartoonists made their debut in a medium traditionally dominated by male creators. On the other hand, while Norway has an international reputation as one of the most gender equal countries in the world (see, for example, the United Nation’s “Gender Inequality Index”2), national studies paint a more somber picture when it comes to the situation of young women in Norway. For example, recent","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"431 - 452"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44202979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-06DOI: 10.5406/21638195.94.3.03
K. Kapitan
In recent years, the reception of Old Norse-Icelandic literature has seen an increasing amount of scholarly attention, which has manifested itself in a series of publications spanning from Northern Antiquity: The Post-Medieval Reception of Edda and Saga (Wawn 1994) in the early nineties, to the intensification of the interest in the past decade, for example, Studies in the Transmission and Reception of Old Norse Literature (Quinn and Cipolla 2016), The Legendary Legacy: Transmission and Reception of the Fornaldarsögur Norðurlanda (Driscoll et al. 2018), and most recently, The Vikings Reimagined: Reception, Recovery,
近年来，对古挪威冰岛文学的接受受到了越来越多的学术关注，这表现在一系列出版物中，从90年代初的《北方古物：Edda和Saga的后中世纪接受》（Wawn 1994），到过去十年兴趣的增强，例如，《古挪威文学的传播与接受研究》（Quinn and Cipolla 2016）、《传奇遗产：Fornaldarsögur Norğurlanda的传播与接收》（Driscoll et al.2018），以及最近的《维京人重塑：接受、恢复，
{"title":"When a King of Norway Became a King of Russia: Transmission and Reception of Hrómundar saga Greipssonar in Scholarly Networks of Early Modern Scandinavia","authors":"K. Kapitan","doi":"10.5406/21638195.94.3.03","DOIUrl":"https://doi.org/10.5406/21638195.94.3.03","url":null,"abstract":"In recent years, the reception of Old Norse-Icelandic literature has seen an increasing amount of scholarly attention, which has manifested itself in a series of publications spanning from Northern Antiquity: The Post-Medieval Reception of Edda and Saga (Wawn 1994) in the early nineties, to the intensification of the interest in the past decade, for example, Studies in the Transmission and Reception of Old Norse Literature (Quinn and Cipolla 2016), The Legendary Legacy: Transmission and Reception of the Fornaldarsögur Norðurlanda (Driscoll et al. 2018), and most recently, The Vikings Reimagined: Reception, Recovery,","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"316 - 351"},"PeriodicalIF":0.4,"publicationDate":"2022-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48052113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-06DOI: 10.5406/21638195.94.3.04
Wojtek Jezierski, Sari Nauman, Thomas Lindkvist, Biörn Tjällén
{"title":"Sweden, Inc.: Temporal Sovereignty of the Realm and People from the Middle Ages to Modernity","authors":"Wojtek Jezierski, Sari Nauman, Thomas Lindkvist, Biörn Tjällén","doi":"10.5406/21638195.94.3.04","DOIUrl":"https://doi.org/10.5406/21638195.94.3.04","url":null,"abstract":"","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"352 - 381"},"PeriodicalIF":0.4,"publicationDate":"2022-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45376381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-06DOI: 10.5406/21638195.94.3.01
Markus Floris Christensen
Fadren (1887; The Father [1998]) has traditionally been considered one of Strindberg’s naturalistic plays. However, it has also been read as a play that anticipates movements such as symbolism, nihilism, and expressionism.1 Some proponents of the naturalistic interpretation base their arguments on the thematics of the play, pointing to the power struggle between the sexes that takes place in the play and claiming that this is a prototypical naturalist trope. In this line of research, some scholars refer to Strindberg’s personal ambitions to become part of the naturalist European theater scene, which became apparent as he mailed the manuscript to Émile Zola in order to achieve his recognition. Other scholars zero in on the play’s various symbolic and mythopoeic tropes, arguing that the representation of ghosts, spiritualism, and mythological allusions goes beyond the naturalistic framework and
{"title":"Strindberg's Representation of Anxiety in The Father: Between Naturalistic Determinism and Existential Indeterminism","authors":"Markus Floris Christensen","doi":"10.5406/21638195.94.3.01","DOIUrl":"https://doi.org/10.5406/21638195.94.3.01","url":null,"abstract":"Fadren (1887; The Father [1998]) has traditionally been considered one of Strindberg’s naturalistic plays. However, it has also been read as a play that anticipates movements such as symbolism, nihilism, and expressionism.1 Some proponents of the naturalistic interpretation base their arguments on the thematics of the play, pointing to the power struggle between the sexes that takes place in the play and claiming that this is a prototypical naturalist trope. In this line of research, some scholars refer to Strindberg’s personal ambitions to become part of the naturalist European theater scene, which became apparent as he mailed the manuscript to Émile Zola in order to achieve his recognition. Other scholars zero in on the play’s various symbolic and mythopoeic tropes, arguing that the representation of ghosts, spiritualism, and mythological allusions goes beyond the naturalistic framework and","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"261 - 280"},"PeriodicalIF":0.4,"publicationDate":"2022-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47136807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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