Utamakura is a traditional Japanese technique of recognizing, interpreting, and utilizing the web of intertextual meanings which have accrued around particular place names over centuries of poetic practice. In general, these utamakura places were originally (in the 7th-9th centuries) associated with Shintō gods (kami), though in later periods the web of meanings in most cases came to include (and often became dominated by) secular rather than spiritual associations. Japanese poet Takahashi Mutsuo, who has published both poetic and theoretical works on the subject of utamakura, seeks to recover the original spiritual power of utamakura place names. He has also expanded the concept to include places of mythic spiritual importance outside of Japan, mostly in the Greco-Roman world. Taking inspiration from Takahashi's revivification of this mediaeval poetic device, I am currently in the midst of a three-year project to write a series of (at this point seven) multimedia chamber music pieces called the utamakura series, pieces inspired alternately by traditional Japanese locations and locations in Northern Europe. My 2018 piece utamakura 2: Arnardalar for violin, piano, and fixed audiovisual media is an exploration of the Icelandic valley of Arnardulr in the Westfjords, the setting of a key early scene in the Fóstbræðra saga. My work draws on both the saga's descriptions of the place and the current place as it is today, highlighting the flux of time and exploring the power of art to infuse itself into – and change perceptions of – physical locations. In this paper, I will explain the conceptual processes involved in writing the piece, with an emphasis on the intercultural aesthetic of my work and how Japanese philosophy of art and religion can offer a creative new perspective on the Scandinavian lands which are the settings of the North's oldest literature.
{"title":"Icelandic Kami","authors":"Daryl Jamieson","doi":"10.7557/13.5473","DOIUrl":"https://doi.org/10.7557/13.5473","url":null,"abstract":"Utamakura is a traditional Japanese technique of recognizing, interpreting, and utilizing the web of intertextual meanings which have accrued around particular place names over centuries of poetic practice. In general, these utamakura places were originally (in the 7th-9th centuries) associated with Shintō gods (kami), though in later periods the web of meanings in most cases came to include (and often became dominated by) secular rather than spiritual associations. Japanese poet Takahashi Mutsuo, who has published both poetic and theoretical works on the subject of utamakura, seeks to recover the original spiritual power of utamakura place names. He has also expanded the concept to include places of mythic spiritual importance outside of Japan, mostly in the Greco-Roman world. \u0000Taking inspiration from Takahashi's revivification of this mediaeval poetic device, I am currently in the midst of a three-year project to write a series of (at this point seven) multimedia chamber music pieces called the utamakura series, pieces inspired alternately by traditional Japanese locations and locations in Northern Europe. My 2018 piece utamakura 2: Arnardalar for violin, piano, and fixed audiovisual media is an exploration of the Icelandic valley of Arnardulr in the Westfjords, the setting of a key early scene in the Fóstbræðra saga. My work draws on both the saga's descriptions of the place and the current place as it is today, highlighting the flux of time and exploring the power of art to infuse itself into – and change perceptions of – physical locations. \u0000In this paper, I will explain the conceptual processes involved in writing the piece, with an emphasis on the intercultural aesthetic of my work and how Japanese philosophy of art and religion can offer a creative new perspective on the Scandinavian lands which are the settings of the North's oldest literature.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89793468","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}
I maj 1929 blev der afviklet et internationalt ’Landstrygerstævne’ (Vagabundentreffen) i Stuttgart hvor Nobelpristageren Knut Hamsun, sammen med andre kendte forfattere var inviteret. Hamsun meldte afbud til arrangørerne men han kvitterede venligt for invitationen med en hilsen til forsamlingen. Hændelsen viser for det første hvor stort et navn Hamsun var i mellemkrigstidens anarkist- og kommunistkredse og for det andet, at han havde sympati for vagabonderne. Allerede i sine tidligste artikler og essays fra 1880’erne havde Hamsun beskæftiget sig med mobile, socialt udsatte individer, specielt i de år hvor han selv turede rundt i USA. Også i resten af Hamsuns forfatterskab er der mange omstrejfende, rodløse eksistenser, bl.a. i Sult (1890), i den såkaldte Augusttrilogi (1927-1933) og i sin sidste, selvbiografiske hybridbog Paa gjengrodde Stier fra 1949. I nærværende bidrag undersøges hvordan vagabonden fungerer som vehikel for Hamsuns modernitetskritik i en række punktnedslag i forfatterskabet. Der tages udgangspunkt i tre faser der er knyttet til tre forskellige tekstgenrer i Hamsuns omfattende produktion: først hans tidlige erindringsessays fra USA i 1880’erne, derefter fokuseres der på to romaner i den såkaldte Augusttrilogi (1927-1933) midt i forfatterskabet, og der sluttes af med Paa gjengrodde Stier.
{"title":"«Walk Away!»","authors":"Eunike Nesby","doi":"10.7557/13.5633","DOIUrl":"https://doi.org/10.7557/13.5633","url":null,"abstract":"I maj 1929 blev der afviklet et internationalt ’Landstrygerstævne’ (Vagabundentreffen) i Stuttgart hvor Nobelpristageren Knut Hamsun, sammen med andre kendte forfattere var inviteret. Hamsun meldte afbud til arrangørerne men han kvitterede venligt for invitationen med en hilsen til forsamlingen. Hændelsen viser for det første hvor stort et navn Hamsun var i mellemkrigstidens anarkist- og kommunistkredse og for det andet, at han havde sympati for vagabonderne. Allerede i sine tidligste artikler og essays fra 1880’erne havde Hamsun beskæftiget sig med mobile, socialt udsatte individer, specielt i de år hvor han selv turede rundt i USA. Også i resten af Hamsuns forfatterskab er der mange omstrejfende, rodløse eksistenser, bl.a. i Sult (1890), i den såkaldte Augusttrilogi (1927-1933) og i sin sidste, selvbiografiske hybridbog Paa gjengrodde Stier fra 1949. I nærværende bidrag undersøges hvordan vagabonden fungerer som vehikel for Hamsuns modernitetskritik i en række punktnedslag i forfatterskabet. Der tages udgangspunkt i tre faser der er knyttet til tre forskellige tekstgenrer i Hamsuns omfattende produktion: først hans tidlige erindringsessays fra USA i 1880’erne, derefter fokuseres der på to romaner i den såkaldte Augusttrilogi (1927-1933) midt i forfatterskabet, og der sluttes af med Paa gjengrodde Stier.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73358290","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}
In 2015, occursus – a network of artists, researchers, and academics with an interest in space and spatialities in art – commissioned a series of musical compositions based on a small patch of land close to the centre of Sheffield, England. The land in question, which houses one of the world’s oldest cementation furnaces, has witnessed a remarkable period of transformation; initially standing among some 2,500 furnaces in the heart of the industrialised city centre, the national decline of steel production resulted in dereliction and for much of the past sixty years the furnace towered over wasteland. occursus acquired the land in 2012, and turned it into a community arts space, now known as Furnace Park. This article explains how a series of composers responded to this park through the creation of new musical works. Although most attention is directed to the author’s own work, Foundry Flux (2015), the primary focus of the article is on the collective approach to occursus’ objectives which, to the surprise of all of the commission-holders, focused their attention way beyond the tiny patch of land in the heart of Sheffield; the project became a catalyst for: 1) studying the identity of the city; 2) observing and initiating transformations of that identity; and 3) reflecting upon one’s own role within such identity transformations. In combining these three, those in the group found themselves engaged in a practical process of composing the north.
{"title":"Composing the North: A Musical Study of Identity, Transformation, and Reflection","authors":"A. Stanovic","doi":"10.7557/13.5476","DOIUrl":"https://doi.org/10.7557/13.5476","url":null,"abstract":"In 2015, occursus – a network of artists, researchers, and academics with an interest in space and spatialities in art – commissioned a series of musical compositions based on a small patch of land close to the centre of Sheffield, England. The land in question, which houses one of the world’s oldest cementation furnaces, has witnessed a remarkable period of transformation; initially standing among some 2,500 furnaces in the heart of the industrialised city centre, the national decline of steel production resulted in dereliction and for much of the past sixty years the furnace towered over wasteland. occursus acquired the land in 2012, and turned it into a community arts space, now known as Furnace Park. This article explains how a series of composers responded to this park through the creation of new musical works. Although most attention is directed to the author’s own work, Foundry Flux (2015), the primary focus of the article is on the collective approach to occursus’ objectives which, to the surprise of all of the commission-holders, focused their attention way beyond the tiny patch of land in the heart of Sheffield; the project became a catalyst for: 1) studying the identity of the city; 2) observing and initiating transformations of that identity; and 3) reflecting upon one’s own role within such identity transformations. In combining these three, those in the group found themselves engaged in a practical process of composing the north.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"73 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88147942","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}
Första / Sista are two related catalogue poems in Swedish where listening plays a role as a narrator. The poems aim to paint a picture of current events, places, local history, and self-observation in the urban transitions within the Arctic small towns of Gällivare, Malmberget, and Kiruna. They uncover a repressed sadness when facing the changes that are in motion and the consequences of these. Första is cautiously optimistic while Sista is of a darker, more negative character. The latter also reveals more about the author. The course of events in the poems is not strictly chronological; they are subject-matter scattered with an intention of creating a spontaneous and motley rhythm within the lines. Dialectal words and references to geographic places that carry different names in the local languages Sámi, Meänkieli, and Swedish are key ingredients throughout the text.
Första / Sista是两首相关的瑞典诗歌，其中听力扮演了叙述者的角色。这些诗歌旨在描绘一幅当前事件、地点、当地历史的画面，以及在北极小城镇Gällivare、Malmberget和Kiruna的城市转型中的自我观察。当面对正在发生的变化及其后果时，它们揭示了一种被压抑的悲伤。Första是谨慎乐观的，而Sista是一个更黑暗，更消极的角色。后者也揭示了更多关于作者的信息。诗中事件的进程并不是严格按时间顺序排列的;它们的主题是分散的，目的是在线条中创造一种自发和杂色的节奏。方言词汇和对当地语言Sámi、Meänkieli和瑞典语中带有不同名称的地理位置的引用是贯穿全书的关键成分。
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Det argumenteres for en ny måte å analysere og forstå På gjengrodde stier av Knut Hamsun: Boka er motivert og grunnleggende preget av målet fra en sterkt pengetrengende forfatter – om at den skal bli lest og kjøpt, generere inntekter og også sparke i gang salg fra foregående forfatterskap. To skrivestrategier vises i boka: En rapportstil som åpner boka og virker avvæpnende – og en fabulerende stil som gjør seg stadig mer gjeldende og som inviterer leseren inn i Hamsuns fiksjonsverden på nytt. Den totale leseropplevelsen oppsummeres kanskje best ved utbruddet fra en 1949-leser: «Det var Fanden!».
{"title":"Hamsuns avvæpning","authors":"Eunike Nesby","doi":"10.7557/13.5652","DOIUrl":"https://doi.org/10.7557/13.5652","url":null,"abstract":"Det argumenteres for en ny måte å analysere og forstå På gjengrodde stier av Knut Hamsun: Boka er motivert og grunnleggende preget av målet fra en sterkt pengetrengende forfatter – om at den skal bli lest og kjøpt, generere inntekter og også sparke i gang salg fra foregående forfatterskap. To skrivestrategier vises i boka: En rapportstil som åpner boka og virker avvæpnende – og en fabulerende stil som gjør seg stadig mer gjeldende og som inviterer leseren inn i Hamsuns fiksjonsverden på nytt. Den totale leseropplevelsen oppsummeres kanskje best ved utbruddet fra en 1949-leser: «Det var Fanden!».","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82313395","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}
Ingri Løkholm Ramberg, Henrik Johnsson, Linda Hamrin Nesby
{"title":"Forord","authors":"Ingri Løkholm Ramberg, Henrik Johnsson, Linda Hamrin Nesby","doi":"10.7557/13.5655","DOIUrl":"https://doi.org/10.7557/13.5655","url":null,"abstract":"","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"90 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83847933","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":"Introducing Svalbard Studies","authors":"Leonid S. Chekin, A. Rogatchevski","doi":"10.7557/13.4990","DOIUrl":"https://doi.org/10.7557/13.4990","url":null,"abstract":"","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85633685","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}
This article examines the early commodification of the Arctic, using emerging cruise tourism to Spitsbergen as an example. Its objective is to investigate how an Arctic tourism discourse emerged around 1900 and what its central characteristics were. Covering the period between 1893, when German Arctic cruise tourism took off, and 1914, the article argues that early cruise tourists drew on exploration, adventure and leisure discourses in order to frame their experiences. However, unlike explorers and explorer travellers (Laing and Frost 2014), they wished only to a limited extent to experience adventure themselves, or report transformative experiences due to the sublime landscape; rather, the travel narratives indicate that they were interested above all in observing adventure, this process being facilitated by the advanced technology and luxurious lifestyle of the cruise ships. As the article demonstrates, this ambivalence between images of a wild, uncontrolled and sublime Arctic and an Arctic controlled by modern technology and modern life helped to map the Arctic as a tourism space.
本文考察了北极的早期商品化，以新兴的斯匹次卑尔根邮轮旅游为例。其目的是调查北极旅游话语是如何在1900年左右出现的，以及它的核心特征是什么。从1893年德国北极邮轮旅游开始到1914年，这篇文章认为早期的邮轮游客利用探索、冒险和休闲话语来构建他们的体验。然而，与探险家和探险家旅行者(Laing and Frost 2014)不同的是，他们只希望在有限的程度上亲身体验冒险，或者报告由于壮丽的风景而带来的变革经历;相反，旅行叙述表明，他们最感兴趣的是观察冒险，这一过程是由先进的技术和豪华的生活方式的游轮促进。正如这篇文章所展示的那样，在一个野生的、不受控制的、崇高的北极和一个由现代技术和现代生活控制的北极之间，这种矛盾心理有助于将北极作为一个旅游空间绘制出来。
{"title":"Cruise Tourists in Spitsbergen around 1900","authors":"U. Spring","doi":"10.7557/13.5026","DOIUrl":"https://doi.org/10.7557/13.5026","url":null,"abstract":"This article examines the early commodification of the Arctic, using emerging cruise tourism to Spitsbergen as an example. Its objective is to investigate how an Arctic tourism discourse emerged around 1900 and what its central characteristics were. Covering the period between 1893, when German Arctic cruise tourism took off, and 1914, the article argues that early cruise tourists drew on exploration, adventure and leisure discourses in order to frame their experiences. However, unlike explorers and explorer travellers (Laing and Frost 2014), they wished only to a limited extent to experience adventure themselves, or report transformative experiences due to the sublime landscape; rather, the travel narratives indicate that they were interested above all in observing adventure, this process being facilitated by the advanced technology and luxurious lifestyle of the cruise ships. As the article demonstrates, this ambivalence between images of a wild, uncontrolled and sublime Arctic and an Arctic controlled by modern technology and modern life helped to map the Arctic as a tourism space.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76589628","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}
Mainstream: Warum wir den Medien nicht mehr trauen viser hvorfor en voksende avstand mellom borgere og elitene er problematisk for et demokratisk samfunn. En journalistikk som viser seg ute av stand til å kritisk følge elitedrevne prosesser og praksiser mister den sentrale vaktbikkjefunksjonen som man ofte uten videre ettertanke tildeler store medieaktører. Krügers bok kan sees som et velfundert kall for et kritisk og konstruktivt engasjement med disse utfordringene—et kall som er relevant ikke bare i en tysk kontekst. Den anmeldte boken: Uwe Krüger. Mainstream: Warum wir den Medien nicht mehr trauen. ISBN-13: 978–3–406–68851–5. München: C. H. Beck, mars 2016. Paperback; 174 sider; veiledende pris: €14,95.
{"title":"Bokanmeldelse—Uwe Krügers Mainstream (2016)","authors":"H. Pötzsch","doi":"10.7557/13.5020","DOIUrl":"https://doi.org/10.7557/13.5020","url":null,"abstract":"Mainstream: Warum wir den Medien nicht mehr trauen viser hvorfor en voksende avstand mellom borgere og elitene er problematisk for et demokratisk samfunn. En journalistikk som viser seg ute av stand til å kritisk følge elitedrevne prosesser og praksiser mister den sentrale vaktbikkjefunksjonen som man ofte uten videre ettertanke tildeler store medieaktører. Krügers bok kan sees som et velfundert kall for et kritisk og konstruktivt engasjement med disse utfordringene—et kall som er relevant ikke bare i en tysk kontekst. \u0000Den anmeldte boken: Uwe Krüger. Mainstream: Warum wir den Medien nicht mehr trauen. ISBN-13: 978–3–406–68851–5. München: C. H. Beck, mars 2016. Paperback; 174 sider; veiledende pris: €14,95.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81456991","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}
This paper considers whether the twenty-first-century resurgence of H. P. Lovecraft and weird fiction can be read as a conceptual parallel to the Anthropocene epoch, taking Carl H. Sederholm and Jeffrey Andrew Weinstock’s The Age of Lovecraft as a starting-point. The assumption is that the two ‘ages’ are historically and thematically linked through the ‘monsters’ that inhabit them; monsters that include—but are not limited to—extensions, reproductions, and evolutions of Lovecraft’s writings. Preoccupied with environmental issues such as global climate change, the twenty-first-century imaginary has conjured monsters that appear to have much in common with early twentieth-century cosmic horror stories. Considering the renewed interest in Lovecraft and the weird, such developments raise the question: What can (weird) monsters tell us about the Anthropocene moment? This paper maps the ‘monstrous’ in the discourses emerging from the Anthropocene epoch and ‘The Age of Lovecraft’ by considering (new) weird narratives from contemporary literature, graphic novels, film, TV, and video games. Mindful of on-going discussions within ecocriticism, philosophy, and critical theory, the paper discusses a handful of unconventional texts to investigate the potential of the weird for expressing Anthropocene anxieties and for approaching nonhuman realities from new angles.
{"title":"‘Age of Lovecraft’?—Anthropocene Monsters in (New) Weird Narrative","authors":"G. Ulstein","doi":"10.7557/13.5004","DOIUrl":"https://doi.org/10.7557/13.5004","url":null,"abstract":"This paper considers whether the twenty-first-century resurgence of H. P. Lovecraft and weird fiction can be read as a conceptual parallel to the Anthropocene epoch, taking Carl H. Sederholm and Jeffrey Andrew Weinstock’s The Age of Lovecraft as a starting-point. The assumption is that the two ‘ages’ are historically and thematically linked through the ‘monsters’ that inhabit them; monsters that include—but are not limited to—extensions, reproductions, and evolutions of Lovecraft’s writings. Preoccupied with environmental issues such as global climate change, the twenty-first-century imaginary has conjured monsters that appear to have much in common with early twentieth-century cosmic horror stories. Considering the renewed interest in Lovecraft and the weird, such developments raise the question: What can (weird) monsters tell us about the Anthropocene moment? This paper maps the ‘monstrous’ in the discourses emerging from the Anthropocene epoch and ‘The Age of Lovecraft’ by considering (new) weird narratives from contemporary literature, graphic novels, film, TV, and video games. Mindful of on-going discussions within ecocriticism, philosophy, and critical theory, the paper discusses a handful of unconventional texts to investigate the potential of the weird for expressing Anthropocene anxieties and for approaching nonhuman realities from new angles.","PeriodicalId":53235,"journal":{"name":"Nordlit Tidsskrift i litteratur og kultur","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82662186","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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