Pub Date : 2023-10-01DOI: 10.5406/21638195.95.3.06
Mark Ian Jones
Since the turn of the millennium, design historians have sought to move beyond the myths and stereotypes of 1950s “Scandinavian Design” and reveal what took place in the decades that followed. Scandinavian Design beyond the Myth (Halén and Wickman 2003) kicked off a re-evaluation in 2003, and subsequent scholarship has taken a more critical position on the hegemony of Scandinavian “good taste” and uncovered little-known and alternative histories. This scholarship includes those marginalized designers who simply didn't fit the overarching narrative constructed by the Nordic design associations. Norwegian design historian Kjetil Fallan's previous anthology, Scandinavian Design: Alternative Histories (Fallan 2012) revealed lesser-known design histories, and in Nordic Design Cultures in Transformation, 1960–1980, he is joined by co-editors Christina Zetterlund from Sweden and Anders Munch from Denmark for this excellent and timely anthology. Together, they have brought together an impressive group of scholars from Denmark, Finland, Iceland, Norway, Sweden, and the United Kingdom, covering a wide range of previously uncharted design histories with contemporary relevance.Nordic design is better-known to most of the world as “Scandinavian Design,” a stylistic category of objects primarily for the home that was successfully created through discourse in the 1950s. Its associated myths have obscured developments in the Nordic region ever since. Perhaps this is, as the editors state in their introduction, largely due to an emphasis on mid-century exhibitions, objects, and individuals that permeates most discourse. Indeed, a revolution had begun in the late 1950s. In 1958, the American journal Crafts Horizons first proclaimed this revolution, stemming from the dissatisfaction of young designers with the limited boundaries of “Scandinavian Design” (Brown 1958). There have been previous studies, referenced by the authors in their introduction, that speak to the aims of this volume; however, they have largely been published in Nordic languages. Therefore, it is heartening to see increased attention to the revolutionary period that followed in the 1960s and 1970s, particularly as an Open Source work in English. Globally, these decades represent a period of transformation in design with the rise of environmentalism and various rights movements, yet how this played out in the Nordic countries has remained unexplained until now. Nordic Design Cultures in Transformation asks the overarching question of “How do we move beyond the traditional narrative of ‘Scandinavian Design’”? The authors do so through the lens of discourses, institutions, and practices in its aftermath, where they claim that “the roots of the most prominent features of Nordic design's contemporary significance” (p. 1) are to be found. For the casual reader, that there was an aftermath is a revelation, and given the recent popular interest in Scandi-this and Hygge-that, this volume provides an illum
自世纪之交以来，设计历史学家一直试图超越20世纪50年代“斯堪的纳维亚设计”的神话和刻板印象，并揭示随后几十年发生的事情。《超越神话的斯堪的纳维亚设计》(halsamen and Wickman 2003)在2003年开始重新评估，随后的学术研究对斯堪的纳维亚“好品味”的霸权采取了更加批判的立场，并揭示了鲜为人知的和另类的历史。这个奖学金包括那些被边缘化的设计师，他们根本不适合北欧设计协会所构建的总体叙事。挪威设计历史学家Kjetil Fallan之前的选集《斯堪的纳维亚设计:另类历史》(Fallan 2012)揭示了鲜为人知的设计历史，在《转型中的北欧设计文化，1960-1980》中，他与来自瑞典的Christina Zetterlund和来自丹麦的Anders Munch共同编辑了这本优秀而及时的选集。他们汇集了一群来自丹麦、芬兰、冰岛、挪威、瑞典和英国的令人印象深刻的学者，涵盖了广泛的以前未知的与当代相关的设计历史。北欧设计在世界上大多数地方都被称为“斯堪的纳维亚设计”，这是一种主要用于家居的风格类别，通过20世纪50年代的讨论成功地创造出来。从那时起，与之相关的神话就掩盖了北欧地区的发展。也许，正如编辑们在前言中所说，这在很大程度上是由于对中世纪展览、物品和个人的强调渗透到大多数话语中。事实上，一场革命在20世纪50年代末开始了。1958年，美国杂志Crafts Horizons首次宣布了这场革命，起因是年轻设计师对“斯堪的纳维亚设计”有限边界的不满(Brown 1958)。有以前的研究，由作者在他们的介绍中引用，说到本卷的目的;然而，它们大多以北欧语言出版。因此，看到越来越多的人关注20世纪60年代和70年代的革命时期，特别是作为英语的开源作品，这是令人振奋的。在全球范围内，随着环保主义和各种权利运动的兴起，这几十年代表了设计的转型时期，但这在北欧国家是如何发挥作用的，直到现在还没有得到解释。转型中的北欧设计文化提出了一个首要问题:“我们如何超越‘斯堪的纳维亚设计’的传统叙事”?作者通过话语、制度和实践的镜头来做到这一点，在其后果中，他们声称“北欧设计当代意义最突出特征的根源”(第1页)是可以找到的。对于普通读者来说，这是一个启示，鉴于最近对Scandi-this和Hygge-that的流行兴趣，这本书提供了北欧设计激进主义、社会设计、人体工程学、用户参与和生态可持续性的启发性反叙述。该选集是通过2019-2021年期间一系列资助的研讨会开发的，采用协作和多学科方法。这些章节涵盖了工业生产、市场营销、消费、公共机构、设计教育和贸易期刊，来源包括口述历史、“灰色文学”和私人档案。为了忠实于选集中讨论的协作设计过程，编辑们使用了一种合作的方法，允许跨国界的比较观点。口述历史和来自文化部门以外的跨学科方法加强了跨国关系，远离了有问题的国家历史。这本选集分为三个部分，横跨三个主题——话语、制度和实践——共有十四章，涵盖了一系列引人入胜的材料，集中在1960年至1980年间以前被忽视的科目和主题上。这本选集的优势在于设计历史研究的广度，它将革命和转型与国际事件平行进行。第一部分，“转化话语”，由六篇论文组成。Fallan在第一章中的贡献考察了环境保护主义和独特的工业设计组织的兴起，这是对限制应用艺术组织的不满的结果。这里讨论的参与式和以用户为中心的设计实践的早期发展是一项重要的北欧设计创新，它反对学生组织在挑战传统设计教育模式中的作用。接下来，蒙克和詹森在第二章中重点讨论了1970年前后丹麦设计和建筑辩论中围绕“环境”的一系列议题。 总结第三部分，Nordby在第14章通过与挪威最大的出版社Gyldendal Norsk Forlag和H. Aschehoug & Co.相关的设计师的案例研究，揭示了挪威平面设计历史上的变革时期。这篇文章阐述了平面设计师是如何从这些出版社脱颖而出并变得专业化的，以及20世纪60年代挪威设计师、机构和市场之间的关系是如何转变的。编辑们认为，北欧的行动主义在这一时期是独一无二的，因为项目更加公开，并获得了更多的机构支持。他们承认在相对较新的研究领域中存在局限性和遗漏，并指出北欧设计协会和组织超出了本选集的范围。然而，北欧设计协会经常被引用为反叛和激进主义的原因之一。因此，他们的角色变化、内部转变和冲突的动机仍然没有得到解决——具体来说，他们在1960年至1980年(以及以后)的北欧和国际展览中参与了延续20世纪50年代“斯堪的纳维亚设计”神话(也许还增强了其自身的弹性)。尽管如此，北欧设计文化在转型中的范围和质量，1960-1980是值得赞扬的。它揭示了一系列丰富而重要的新历史，使我们能够更好地理解更复杂和细致入微的北欧设计现实。一个特别的优势是强大的协作方法，最好通过积极地相互交叉引用的章节来展示，这将个别文章交织在一起。该出版物让读者毫不怀疑，北欧设计师和实践处于环境和包容性设计的最前沿。这些历史确实与我们当前的时代相关，尽管它们的影响没有被探索到北欧边界以外。以一种易于理解的方式写作，选集将吸引大量的观众，从历史学家到那些对北欧设计有兴趣的人。转型中的北欧设计文化，1960-1980实现了超越20世纪50年代“斯堪的纳维亚设计”神话的总体目标，并为这一被忽视的时期的进一步研究提供了重要而坚实的基础。
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Pub Date : 2023-07-01DOI: 10.5406/21638195.95.2.07
Björn Nordfjörd
Without a doubt, Danish cinema has been one of the hot spots of twenty-first-century world cinema. Turning the success of Dogme 95 into a springboard, so many Danish filmmakers have experienced remarkable international success—and an unparalleled one, considering the small size of the country. The success of Danish cinema is evident at the domestic box office, the international film festival circuit, and even Hollywood. And by Hollywood, I don't mean only the Academy Awards, where Danish films have received seven nominations for best foreign film this century and won twice, but also in the making of English-language films competing in the Hollywood market. This newfound interest has been given some historical weight with the continued interest in celebrated auteur Carl Theodor Dreyer.Not surprisingly, this success has been accompanied by plenty of academic interest and some solid scholarly publications. In English, we have seen numerous books on the Dogme phenomenon and even monographs on specific Dogme films. Many auteur studies have seen the light of day with scholarship on Lars von Trier constituting a field all its own. Other scholars have taken a broader view but still confined their reach to New Danish Cinema. Television has not been left out of the equation, and much work has been done on the comparable global success of Danish television. But what we have not had until now is a work that presents itself as A History of Danish Cinema overall.As the editors C. Claire Thomson, Isak Thorsen, and Pei-Sze Chow freely admit in their introduction, such an enterprise is fraught with challenges and difficult decisions. Do you aim for a broad overview or close analyses of specific issues? Do you summarize previous research or privilege new findings? Do you focus on the films themselves or their institutional context? Instead of favoring a single approach, the editors have tried to find a balance between multiple, and not necessarily always reciprocal, goals. Indeed, despite the book's title emphasizing a single history (albeit with an indefinite rather than a definite article), the editors refer to its many chapters as so many histories in the plural. And as with any other important decision, something is won but also lost by this particular approach: “The richness of perspective that is gained from an anthology of critical voices also sacrifices the cohesiveness of a monograph” (p. 6). While there is truth in their forthrightness here—readers should not expect a straightforward overview of Danish cinema from the volume—the editors have nonetheless aimed for a certain cohesiveness. For starters, the entries are arranged in a chronological order, or as much as possible, as their time span can vary quite a bit, and are furthermore split into four different parts defined by historical time period. The editors and authors have also provided a plethora of cross-references to assist readers in linking different chapters together.Most importantly, they hav
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Pub Date : 2023-07-01DOI: 10.5406/21638195.95.2.09
Marianne Stecher-Hansen
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Pub Date : 2023-05-19DOI: 10.5406/21638195.95.2.01
Lara E. C. Harris
The þistil mistil kistil inscription and its variants is one of the most cryptic magic runic inscriptions in the Old Norse corpus.1 Despite its having been researched by various scholars, its meaning, uses, and purposes are still largely unknown. In its original form, as illustrated on the Gørlev stone, the first two words that figure are the popular plants “thistle” (Þistil) and “mistletoe” (mistilteinn). Plantrelated formulas are not uncommon in the runic corpus, such as lina laukar alu (“flax/linen, leek, ale”)2 found in the Fløksand knife (Spurkland 2005, 46; MacLeod and Mees 2006, 103) and were believed to have magic properties and aid in childbirth (MacLeod and Mees 2006, 102; Heizmann 1992, 374–6). This theory has been put forward because leeks and linen are known to have been used as ingredients to heal and revive in Old Norse and AngloSaxon records.3
古挪威语料库中最神秘的魔法符文铭文之一是“þistil mistil kistil”及其变体尽管许多学者对它进行了研究，但它的含义、用途和目的在很大程度上仍然是未知的。正如Gørlev石碑上所示，在其最初的形式中，前两个词是流行的植物“蓟”(Þistil)和“槲寄生”(mistilteinn)。与植物相关的配方在北欧语料库中并不罕见，例如在flo øksand刀中发现的lina laukar alu(“亚麻/亚麻，韭菜，麦酒”)2 (Spurkland 2005,46;MacLeod and Mees 2006, 103)，并被认为具有神奇的特性，有助于分娩(MacLeod and Mees 2006, 102;Heizmann 1992, 374-6)。这一理论之所以被提出，是因为在古斯堪的纳维亚和盎格鲁-撒克逊的记录中，韭菜和亚麻被用作治疗和复苏的成分
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Pub Date : 2023-05-19DOI: 10.5406/21638195.95.2.05
J. R. Neal
In a night of brutal carnage on the choppy, windswept waves of the Kattegat off the coast of modernday Sweden, two great Viking navies lashed their ships together and crashed into each other in a winnertakeall bloodbath. Fought on August 9, 1062, at the mouth of the River Niså in Halland, north of Skåne, the Battle of Niså was the culmination of 15 years of warfare between King Haraldr Sigurðarson1
{"title":"Nizarorustu: A Textual Analysis of the Battle of Niså","authors":"J. R. Neal","doi":"10.5406/21638195.95.2.05","DOIUrl":"https://doi.org/10.5406/21638195.95.2.05","url":null,"abstract":"In a night of brutal carnage on the choppy, windswept waves of the Kattegat off the coast of modernday Sweden, two great Viking navies lashed their ships together and crashed into each other in a winnertakeall bloodbath. Fought on August 9, 1062, at the mouth of the River Niså in Halland, north of Skåne, the Battle of Niså was the culmination of 15 years of warfare between King Haraldr Sigurðarson1","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49630735","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 : 2023-05-19DOI: 10.5406/21638195.95.2.02
E. Sebo, M. Firth
The Kalvestene (calf stones) are a collection of ship settings,1 dated by cremated grave goods to the seventh to tenth century (Broholm 1937, 16–22), on the southern coast of the small island of Hjarnø, off the eastern coast of Jutland (fig. 1). This site is associated with a legend, first recorded in the twelfth century by Saxo Grammaticus in his Gesta Danorum, concerning a legendary king, Hiarni, his rise and fall, and how he came to be buried on the island and the monuments built to commemorate him. From an archaeological point of view, the legend has been problematic. As Jörn Staecker notes, sites associated with legends are especially vulnerable to misinterpretation, since the story tends to frame archaeological perceptions (2005, 3–28).2 Certainly, the account of the site by the antiquarian Ole Worm in 1650 shows clear signs of being influenced by the legend, and the same is true of all
{"title":"Saxo Grammaticus’s Account of the Viking Age Site on the Danish Island of Hjarnø in Gesta Danorum","authors":"E. Sebo, M. Firth","doi":"10.5406/21638195.95.2.02","DOIUrl":"https://doi.org/10.5406/21638195.95.2.02","url":null,"abstract":"The Kalvestene (calf stones) are a collection of ship settings,1 dated by cremated grave goods to the seventh to tenth century (Broholm 1937, 16–22), on the southern coast of the small island of Hjarnø, off the eastern coast of Jutland (fig. 1). This site is associated with a legend, first recorded in the twelfth century by Saxo Grammaticus in his Gesta Danorum, concerning a legendary king, Hiarni, his rise and fall, and how he came to be buried on the island and the monuments built to commemorate him. From an archaeological point of view, the legend has been problematic. As Jörn Staecker notes, sites associated with legends are especially vulnerable to misinterpretation, since the story tends to frame archaeological perceptions (2005, 3–28).2 Certainly, the account of the site by the antiquarian Ole Worm in 1650 shows clear signs of being influenced by the legend, and the same is true of all","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42370863","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 : 2023-05-19DOI: 10.5406/21638195.95.2.04
Jonas Bakken
{"title":"Sámi Literature in Norwegian Language Arts Textbooks","authors":"Jonas Bakken","doi":"10.5406/21638195.95.2.04","DOIUrl":"https://doi.org/10.5406/21638195.95.2.04","url":null,"abstract":"","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41527881","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 : 2023-05-19DOI: 10.5406/21638195.95.2.03
Gilduin Davy
In Chateaubriand’s Voyage en Amérique et en Italie, we read: “In Gothic languages, Scandinavia was called Mannaheim, which means ‘country of men,’” and what the Latin of the sixth century has translated with vigor by these words: “the factory of the human race.”2 This extract, as an echo of Jordanes’s vagina nationum, demonstrates the growing interest for Scandinavia in French intellectual life during the nineteenth century, and especially for Iceland, described by Chateaubriand as “the Norse historical archive.” Just as MacPherson’s Ossian had at the end of the preceding century, the discovery of Ari Thorgilsson or Snorri Sturluson (“the Herodote of the North” for Chateaubriand) further opened a new field of research for French scholars. In fact, this field had been opened up from at least the middle of the eighteenth century, when Montesquieu fantasized about a mythicized North as a homeland of freedom (in opposition to the South) and saw it not only as factory of mankind but as the “factory of instruments that
{"title":"How Icelandic Is French Law? A Few Remarks about the Discovery and Usage of Icelandic Antiquities in French Legal Historiography during the Nineteenth Century","authors":"Gilduin Davy","doi":"10.5406/21638195.95.2.03","DOIUrl":"https://doi.org/10.5406/21638195.95.2.03","url":null,"abstract":"In Chateaubriand’s Voyage en Amérique et en Italie, we read: “In Gothic languages, Scandinavia was called Mannaheim, which means ‘country of men,’” and what the Latin of the sixth century has translated with vigor by these words: “the factory of the human race.”2 This extract, as an echo of Jordanes’s vagina nationum, demonstrates the growing interest for Scandinavia in French intellectual life during the nineteenth century, and especially for Iceland, described by Chateaubriand as “the Norse historical archive.” Just as MacPherson’s Ossian had at the end of the preceding century, the discovery of Ari Thorgilsson or Snorri Sturluson (“the Herodote of the North” for Chateaubriand) further opened a new field of research for French scholars. In fact, this field had been opened up from at least the middle of the eighteenth century, when Montesquieu fantasized about a mythicized North as a homeland of freedom (in opposition to the South) and saw it not only as factory of mankind but as the “factory of instruments that","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43737285","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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