Danish Literature

Christina Hagen vender vrangen ud på det etablerede samfund og viser intime detaljer fra sit eget liv frem for laeseren. Det handler ikke om at finde det smukke i hverdagen, men derimod om at udstille hvor brutalt, aekelt og undertrykkende det moderne samfund, vi lever i, er indrettet.

Acting and affectation. My article deals with a characteristic focus on the importance of human personality in Danish thinking around the middle of the 19th century. A philosopher and poet – Poul Martin Møller (1794-1838) – inspired Søren Kierkegaard (1813-1855) with his sharp observations of affectation in social life. He was a friend of the famous actress Johanne Luise Heiberg (1812-1890), who managed to rise from a poor social background into fame and high status, but like another social rocket, Hans Christian Andersen (1805-1875), maintained an outsider’s view on the affectation of the snobbish elite in Copenhagen. I found many examples hereof in her autobiography as well as fascinating thoughts about the subtle relations between acting, personality, and affectation.

Hvorfor laeser vi litteratur(skønliteratur) Underholdning, viklelighedsflugt, livet, søger svar((svarene til spørgsmål vi har til livet, ligger ofte et svar i livet) til konflikterne man møder til hverdag, trøst ved at laese ting man selv har mødt i livet (kaerstesorg?), ) Vi stiller spørgsmål på to niveauer. 1) menneskelige niveauer 2) (tekstanalyse) hvorfor vi laeser teksten Biografisk analyse  Undertekstanalyse har vi analysemetoderne: Litteraer tekst bruges til at forstå forfatteren.  Forfatterens liv bruges til at forstå teksten. "I en biografisk tilgang er det forholdet mellem forfat-terens liv og personlighed på den ene side og hans tekster på den anden side der er i fokus. Det gaelder om at klarlaegge forbindelser mellem liv og vaerk: Hvordan har bestemte oplevelser og erfaringer sat sig spor i teksterne? Og omvendt: Hvad fortaeller teksterne om forfatterens liv og personlighed? Og hvordan kan biografisk viden i det hele taget gøre vores tolkninger bedre? Her forholder sig til konteksten Positivt : Hvis man bruger biografisk metode, så forstår man hvorfor folk skriver som de gør.

Novellen beskriver et sommerferieophold i paradis: to drenges (Thomas og Erik) ferie i et sommerhus hos Thomas' bedsteforaeldre. Den femte person, slangen i paradiset, er Thomas' kusine Mette. Alt fortaelles år senere af et 'jeg', som er Thomas: (…) det var sommerferie, og jeg havde fået lov til at tage Erik med igen i år. Det var praecis i året 1978, en sjaelden god sommer – sol, sol og atter sol (s.34). Hvor mange år senere historien fortaelles, fremgår ikke, men indledningen antyder, at det er ud fra en anderledes voksenrealistisk virkelighedsopfattelse: Det var en stor og blomstrende have; man kunne skimte havet som en genspejling i himlen, selv om det i virkeligheden er omvendt (…) (s. 34, min understregning som alle følgende). Straks introduceres de to andre hovedpersoner i det lille drama, der skal oprulles. De modstilles klart på fortaellerens vaerdiskala: min bedste ven Erik kontra min kedelige kusine Mette, hendes kraftige skinneben under bordet (s. 34). Denne novelle har givet stof til en del analyser, og jeg har allerede antydet dens forlaeg: paradismyten, herunder uddrivelsen af paradis ved den fåmaelte slanges traeske anslag. Mette taler ikke et forståeligt ord i hele historien; tvaertimod kan man sige: hun laeser og laeser – suger altså til sig som et sort hul, giver intet sprog fra sig. Mettes eneste tilløb til en ytring overstås i begyndelsen (s. 34): " Er det aldeles livsnødvendigt at laese ved bordet? " spurgte min morfar Mette. Hun kiggede fortumlet op og mumlede noget bag sine tykke brilleglas, der på en eller anden måde skyggede for hele hendes ansigt (…) Denne skygge anslår det mørke ledemotiv, som truer drengenes solrige faelleskab.

Revue Discours, Signes et Sociétés sur le thème "Dynamiques discursives de la vulnérabilité". Introduction :
Dans son article sur la socialité du discours misérabiliste dans les contes d’Andersen, Marys Renné Hertiman propose la construction d’un syntagme spécifique, l’« être-sans », afin de définir le paradigme des groupes sociaux “misérables” tels que l’enfant mendiant (comme la vendeuse d’allumettes, l’un des contes emblématiques d’Andersen), la femme ignorée, les prolétaires victimes de privations et d’injustice sociale, ou simplement les Danois empêchés de s’exprimer librement. L’être-sans (désignation qui redonne sa place agissante au sujet contrairement au paradigme des « sans-X ») permet ainsi d’aborder la question de la socialité dans les Contes et Histoires et de saisir le traitement d’un imaginaire socialement situé autour de la vulnérabilité. Cette œuvre littéraire ancrée dans le contexte géopolitique du Danemark au XIXe siècle offre à Marys Renné Hertiman le corpus idéal pour travailler la dimension sociale dans le texte en prenant en compte l’ensemble des phénomènes communicationnels et discursifs au cœur du dispositif d’énonciation. Interjections, apostrophes, digressions, épiphrases y suscitent l’interpellation. Le discours misérabiliste andersenien fait surgir une peinture sociale marquée par la famine, le clivage social, la censure, l’invisibilité des sujets dominés, projetant ainsi un discours éminemment politique.

Mots-clefs : imaginaires et discours sociaux, socialité, contes, misère, représentations.

Abstract

The aim of this study is to examine the construal social discours in Hans-Christian Andersen's tales. Based on multidisciplinary method (discourse analysis and socio-criticism), 23% of Andersen's tales were investigated (36 / 156). This analysis takes into account the socio-historical and literary documentation about Denmark. First of all, it will be a question of identifying the discourses and representations in these texts. Then, it will be question of their sociality being at an epistemic level. With a careful review of the images of misery, we will question the discourses and the sociability on Hans-Christian Andersen’s tales. The preliminary results of my study have revealed the treatment of the social in a newly industrialized country but also the emergence of a brand new sociocategory, that of the voiceless, which will be exposed in its final version under the effigy l’être-sans. Moreover, Andersen's reappropriation of factual events tends to nourish and highlight the social imaginary that dominated in his day. Through this exploration, Andersen exposes the failings of an entire society and shapes a whole discourse on the misery that results from Denmark's industrialization.

Keywords: imaginary and social discourses, socio-political, misery, représentations, tales.

Wer ob des im Ganzen gesehen doch eher mittelmäßigen Niveaus der Reihe Rowohlts Monographien nur zögernd zu dem darin erschienenen schmalen Bändchen über Karen Blixen greift, sieht sich angenehm enttäuscht. Detlef Brennecke legt darin eine flott -vielleicht bisweilen etwas zu flott -geschriebene, gleichwohl akribisch recherchierte und philologisch solide Einführung in Leben und Werk der dänischen Schriftstellerin vor (die übrigens nur im Titel unter dem Vornamen ›Tania‹ firmiert). Ironisch distanziert, meist differenziert, ohne in Respekt vor dem großen Namen zu erstarren, aber auch selten mit moralischer Entrüstung über die Selbstinszenierungen der ›Baronin‹, geht der Autor an eine stellenweise sehr kritische Betrachtung des Mythos Blixen in ihren wichtigsten Lebensstationen. Auf dem schmalen Raum -gemäß der Konzeption der Reihe ist der Text üppig mit im übrigen geschickt ausgewähltem und kommentiertem Bildmaterial gespickt -gelingt die Darstellung der Werke allerdings nicht immer so glücklich (vor allem Syv fantastiske Fortaellinger und Sidste Fortaellinger werden etwas abschätzig beurteilt). Viel originale Forschermühe wird in den Fußnoten versteckt, so z.B. der Nachweis, daß das Motto zu Den afrikanske Farm wohl kaum, wie opinio communis lehrt, von Nietzsche stammt, sondern, durch M.A. Goldschmidt vermittelt, letzten Endes auf Herodot zurückgeht (S. 135f., Anm. 260), oder auch die Aufdröselung und kritische Bewertung der Übersetzungsgeschichte der Werke ins Deutsche (Anm. 220, 255, 394, vgl. a. die ausführliche Bibliographie). Weniger positiv erscheint eine abschließende, fast schon hämisch zu nennende Abrechnung mit der feministischen Literaturkritik um Blixen, wobei die gewiß mit Recht zu geißelnden Auswüchse mit den respektablen Bemühungen von Wissenschaftlerinnen, deren Resultate Brennecke kennt und wohl auch durchaus daraus Nutzen gezogen hat, über einen Kamm geschoren werden. Andere Auswüchse der Blixen-Fangemeinde, wie die unsäglichen Stilisierungen der Autorin zur ›Lebensphilosophin‹, bleiben dagegen unerwähnt.

Den dansk-palaestinensiske digter Yahya Hassans eponyme debut (2013) er ofte blevet laest med en staerk socio-politisk agenda. Ved at genfokusere laesningen på de litteraere greb som Hassan anvender i "LANGDIGT", vil jeg vise hvordan han skaber en forvirrende effekt af autenticitet med et nyskabende sprog og opretter en upålidelig tidsramme og performativitet. Ud fra dette analyserer jeg hvordan den subversive humor og ironi, som anvendes i digtene, også udfordrer den implicitte laesers opfattelse af de multikulturelle danske forstaeder, spiller med stereotyper, patos og ideen om "skandinavisk skyld". Gennem at saette alle disse elementer i spil over for hinanden, er min tese at Hassan burde laeses i den pikareske tradition, idet han måske udfordrer den danske lyriks konventioner på samme karnevalistiske måde som Cervantes revolutionerede den spanske litteratur.

”At du læser ”mig”, er selvfølgelig en hovedløs fortalelse, og i forlængelse heraf bør jeg nævne, at jeg ikke har fundet på det hele selv. Jeg har hugget sætninger fra adskillige andre tekster” (Bjørn Rasmussen, s. 90).
Forfatterbemærkningen stammer fra slutningen af Bjørn Rasmussens roman Huden er det elastiske hylster der omgiver hele legemet , og den cementerer en gang for alle, den fornemmelse læseren har haft under hele læsningen af værket; følelsen af at blive afvist, at værket simpelthen ikke vil lukke læseren ind – derind, hvor fortolkning og forståelse finder sted. Bemærkningen sætter fokus på den just læste tekst ved at nævne de stjålne sætninger – for hvilken betydning har det, at brudstykker af teksten ikke er Bjørn Rasmussens egne ord? Og hvorfor denne ublu opmærksomhed på teksttyveriet? Samtidig adresserer sætningen et du, som er en direkte henvendelse til læseren, men hvem er dette ”mig”, og hvorfor kan denne ikke læses?

Wolf Wucherpfennig Dänisch-deutsche Doppelgänger. Transnationale und bikulturelle Literatur zwischen Barock und Moderne. Hg. von Heinrich Detering, Anne-Bitt Gerecke, Johan de Mylius. Göttingen: Wallstein 2001 (Grenzgänge. Studien zur skandinavisch-deutschen Literaturgeschichte, 3). Die hier behandelten Doppelgänger gehören, wie es sich für solche Gestalten ziemt, einem vergänglichen Zwischenreich an, sei es dem Bildungsraum zwischen Latein-und Volkskultur, dem religiösen Raum, den sich der Pietismus zwischen sichtbarer und unsichtbarer Welt einrichtete, oder dem bikulturellen Raum zwischen Deutschland und Dänemark. Vergängliche Räume, ganz gewiß, aber mit spezifischen

Jens Baggesen (1764 - 1826) gilt als Grenzgänger zwischen der dänischen, deutschen und französischen Kultur, zwischen Adel und Bürgertum und zwischen Klassizismus, Empfindsamkeit und Romantik. Er dichtete auf Dänisch, Deutsch und gelegentlich Französisch, und seine Korrespondenz weist einen regen Sprachwechsel auf, den Baggesen als „Schreiben auf Europäisch" bezeichnete. Der Beitrag rekonstruiert anhand einiger Beispiele Baggesens zum Teil humoristisch-provozierende Reflexionen über den Sprachwechsel und über das Verhältnis der drei von ihm verwendeten Sprachen zu einander und kontrastiert seine Selbstinszenierung als „Europäer" und sein antinationales Weltbild mit der Schwierigkeit, sich Anfang des 19. Jahrhunderts im Gegensatz zur Idee des Nationalen zu positionieren.

This article analyses the constructions and negotiations of masculine identity in New Nordic Cuisine. It focuses on cookbooks by the leading figures, namely Claus Meyer and René Redzepi. The article argues that Meyer and Redzepi represent different negotiations of Nordic culinary masculinity played out in distinct culinary spaces: respectively the domestic and the professional kitchen. At the same time, both men make great effort to distance their culinary practices not only from a traditional understanding of women’s everyday cooking, but also from the food and gender practices of hypermasculine chefs. Meyer and Redzepi both strike a precarious balance: not becoming too close to “the feminine”, but simultaneously remaining unmistakable from traditional, culinary masculinity.

En af de korteste tekster i Pia Juuls novellesamling Af sted, til stede, " Historie " , består af to naesten identiske saetninger, der paradoksalt negerer hinanden: " Det er bare en historie for jer, men for mig er det virkelighed. For mig er det bare en historie, men for jer er det virkelighed. " Trods en alt i alt overstrømmende modtagelse af samlingen, der også løb med Kritikerprisen i 2012, var flere anmeldere inde på at nogle af de ultrakorte tekster, som udgør bogens anden halvdel, og som nok har motiveret den supplerende genrebetegnelse " episoder " på bogens titelblad, var på nippet til at falde under bagatelgraensen. 1 Men på en måde udgør selv disse to små saetninger en fuld Juul-novelle, fordi de så rent opstiller fortaellesituationens paradoks. Behovet for at fortaelle og den uundgåelige misforståelse, som denne fortaellen fører med sig, både for fortaelleren selv og for et evt. publikum. Forklaedt som ordspil eller vittighed, indrammer teksten det uudgrundelige forhold, som hos Juul eksisterer mellem det fortalte og skete, fordi fortaellingen uvaegerligt påvirker det den fortaeller om, idet det bliver til en " historie " for den der lytter eller den der fortaeller. I klassisk novelleteori knyttes novellen ofte til det anekdotiske, til vores grundlaeggende menneskelige behov for at fortaelle hinanden om begivenheder i vores liv. Friedrich Schlegel, f.eks., som var en af de første til at teoretisere over genren på skrift haevdede at " en novelle er en anekdote, en hidtil ukendt historie, fortalt, som man ville fortaelle den i en forsamling (…) " 2 og betoner således både det anekdotiske, det hidtil usete og selve berettersituationen – tre kvaliteter, som er helt centrale i Pia Juuls saerlige udgave af novellegenren, som den tegner under laesning af hendes foreløbig tre novellesamlinger, Mit forfaerdelige ansigt (2001, herefter MFA), Dengang med hunden (2005, herefter DMH) og Af sted, til stede (2012, herefter ASTS). I sin fine, lille monografi om Juuls forfatterskab gør Elisabeth Friis en pointe ud af det paradoksale sammenstød mellem det store behov for at fortaelle, aflaegge vidnesbyrd, og så den haer af kommunikationsnaegtere, der marcherer gennem hele Juuls produktion. Dette sammenstød resulterer i et kommunikativt sammenbrud. I novellerne opleves dette sammenbrud ofte direkte kropsligt. Personerne har ustandseligt klumper i halsen, deres tunger vokser i munden på dem, slår knuder, stemmerne svigter og historierne lader sig ikke fortaelle, hvor gerne personerne end vil: " jeg ville da også gerne vaere frisk og frejdig, der var bare noget galt med min tunge, jeg kunne ikke sige noget " , som fortaelleren forsikrer os om i " Da 1 Se f.eks. anmeldelserne i Politiken og Berlingske, 2 Schlegel, " Es ist die Novelle eine Anekdote, eine noch unbekannte Geschichte, so erzählt, wie man sie in Gesellschaft erzählen würde, eine Geschichte, die an und für sich schon einzeln interessieren können muß (…) " , ref. min oversaettelse.

According to one of the epithets in Søren Kierkegaard’s dedication to The Concept of Anxiety, Poul Martin Møller was “the confidant of Socrates.” With the title of the present article, I wish to imply not only that Møller, of course, knew Plato as well as other Socratic sources by heart—he even considered Plato’s dialogues as a topic for a dissertation—but more importantly that as a Socratic figure himself, by his very personality, he had a special maieutic impact on the young Kierkegaard; their relationship is, however, also surrounded by several undocumented assumptions or myths which I will try to sort out. The article is divided into three principal sections: (I) an overview of the life and works of Poul Martin Møller; (II) a discussion of the testimonies concerning Møller’s and Søren Kierkegaard’s personal relation; and (III) a discussion of the references and possible allusions to Møller’s writings in the Kierkegaardian corpus. Finally, in a brief concluding section (IV), I will focus on some relevant aspects of Møller’s portrait of Socrates.

’Hallandia Landæmærkæ’, kaldet Hallandslisten, blev sandsynligvis til i Valdemar II Sejrs regeringstid (1202-1241) og plausibelt i et dertil oprettet kancelli. Oplistning af grænsens landemærker fra syd mod nord, har været et stort og besværligt stykke forarbejde fra dansk side, før grænsens beskrivelse - og er udarbejdet i et kongeligt miljø plausibelt på kongsgårdene i Halland. Selvom nærværende analyses gennemgang viser en række sammenfald i grænseteksterne, kan afvigelserne snarere tolkes som, at den danske grænsetekst ’Hallandia Landæmærkæ’ ikke blev approberet fra svensk side.

Ph.D.-dissertation that seeks to clarify the patterns that exist in Hans Christian Andersen's creative processes as they find expression in the preserved and hitherto unpublished drafts of the three tales "The New Century's Goddess" (1861), "The Ice Maiden" (1861) and "Auntie Toothache" (1872). The methodological approach is inspired by the French Critique Génétique - Genetic Criticism.

At the end of Gabriel Axel's movie "Babette's Feast", the French maid and former chef is praised for her feast but also told she should not have given everything for that purpose - "for our sake".  She replies, "It was not for your sake only."  In Isak Dinesen/ Karen Blixen's short story of the same name, Babette replies, "It was not for your sake."  "Only" sets the movie quite apart from the novella when interpreting who Babette is. 
    The study compares the original short story as first published in The Ladies Home Journal, June 1950 with its later version in English and in Danish translations (1950 and 1958) as well as with Gabriel Axel's reading of it in his manuscript for the movie as well as with the resulting movie.  The analysis take the formats and contexts of the publications into consideration.

Martin  A.  Hansen ’ s novel The Liar(1950) is one of the most frequently analyzed works in Danish literature. Nevertheless, one cannot find many studies which have systematically dealt with its Christian symbols. This article analyzes in detail the Christian meaning of names, numbers and the central symbol of woodcock in The Liar. The author of the article also points out the role these symbols play in the text: they reinforce its Christian-existentialist dimension and significantly contribute to the fact that the novel can be viewed as a demonstration of the writer ’ s conviction of the importance of faith in God

The article comnents on the amazing enthusiasm generated by the now popularised concept of "hygge" from Denmark. The so-called Danish secrets to happiness have been brought into vogue in Poland as well as other countries worldwide. The author tries to show that the reach of this concept is much broader than - the area of trendy lifestyles or competition from Nordic neighbourhood, for instance Swedish idea "lagom". Namely, patriotism and its cultural practises in the everyday life lie at the root of all Danish inclination for I comfort and cosiness.

This thesis falls into the category of an article Ph.D. This means that it consists of three articles and a background section. At the time of writing the first article “Flappers and Macabre Dandies. Karen Blixen’s ‘Carnival’ in the Light of Søren Kierkegaard” has been published in the journal Scandinavica (2:2011), the second “‘Ehrengard,’ Kierkegaard,
and the Secret Note” has been accepted by the journal Scandinavian Studies and is scheduled to appear in the winter 2013 issue and the third “Karen Blixen’s ‘The Poet’ and Søren Kierkegaard’s Gjentagelsen” has been submitted to the European Journal of
Scandinavian Studies but has not yet been peer reviewed.

The three articles are framed by a background section that consists of 1) a research survey of the Blixen-Kierkegaard research scholarship, 2) reflections over the theory and method used in each of the three articles and 3) additional analyses of selected tales by Blixen with particular attention to Kierkegaard and the topics of gender and
Christianity and finally 4) a concluding chapter that ties the observations from the articles and the background section together.

It has become more and more clear to me from my work with Blixen’s works in relation to Kierkegaard that one of Blixen’s ways of becoming a part of world literature was to deliberately deal with it in her works and for the most part in a subversive way. In her
tales we find an unusually high, almost excessive, number of allusions to world literature (including the bible and Greek mythology) and in her Danish versions also countless allusions to Danish literature (primarily to 19th century writers). When reading Blixen it
is easy to go astray in all these allusions that often seem to blur the picture more than they clarify. If these allusions, plots and characters are not subjected to meticulous scrutiny that also take in extratextual historical and literary historical knowledge that plays a significant role in Blixen’s tales as has been pointed out by Behrendt (Behrendt 2007;
Behrendt 2010a), it is for the most part impossible to understand her works. Previous research has shown that Blixen (examples here from Vinter-Eventyr, 1942) in “Heloise” reverses the female character and the plot in order to criticize Guy de Maupassant’s famous short story “Boule de Suif” (“Ball of Fat”) from 1880 (Henriksen 1998, 232; Sørensen 2002, 24-5; Selboe 2008, 25 and Bunch 2013b, 2). We also know from Blixen’s own pen (which is extremely rare) that “En Historie om en Perle” was also meant as a critical literary comment to Nobel Prize winner Sigrid Undset’s famous work Kristin Lavransdatter (Blixen 1996 Vol. II, 393) and that the character Alkmene from the
tale of the same name can be perceived as Blixen’s tragic version of Shakespeare’s Perdita from his play The Winter’s Tale4 (Behrendt 2010a, 404). In Bernhard Glienke’s important work from 1986: Fatale Präzedenz. Karen Blixens Mythologie we find a section called “Das Referenzinventar” (Glienke 1986, 98-158) where Glienke on sixty pages meticulously lists the allusions to previous works
from Danish and world literature (including biblical allusion) that he has been able to find in Blixen’s works as well as in secondary literature about her. This gives us a good idea of the huge role that world literature plays in Blixen’s works. The allusions Glienke lists
in Blixen’s work with regard to Kierkegaard are, however, only the tip of the iceberg (which I believe will be the case for other writers too, if subjected to further scrutiny), which I will go on to show in this thesis. Glienke is also, for the most part, unable to coherently analyze how Blixen’s narratives, through these allusions, invert characters and
plot from the works she alludes to, which means that the potential the allusions have as keys to the understanding of Blixen’s works in relation to her literary predecessors are not fully developed. This I will also try to make up for in this thesis with regard to
Kierkegaard.

*FOR CITATIONS PLEASE USE "SHEILA LOUISE WRIGHT"*  Also see the audio/video of this piece here:
https://youtu.be/NNiiu9xUUic
This paper was written as documentation for the SCA (Society For Creative Anachronism), Kingdom of An Tir Bardic Championships 2015.

This ballad fragment is the oldest extant example of both balladry AND written musical notation in Scandinavia. Found at the end of a law text from around 1300-1320, it is an intriguing piece of history, but given the context of the text it is found in, what does the fragment REALLY mean?

Summary
This paper is an English translation of a master’s thesis originally written in Danish in 2016 with the title” Ondsigt, Ondvittighed og Uoverbevisning - Bryggerfejden og den struenseeske trykkefrihed”
It deals with brewer Christian Bagge, one of the several figures of the Danish era of press freedom from 1770 to 1773. His numerous pamphlets in series 1, volume 8 of Luxdorph’s collection of press freedom writings have not previously been the subject of historical treatment. The thesis answers 19th-century historians, primarily Danish, who considered these press freedom writings worthless or even harmful, and contemporary historians who focus more on the pamphleteers’ mentality and picture of the world. Firstly, the thesis provides an assessment of the historical value of Bagge’s writings, especially which social problems they uncovered, and of his credibility judged by the preserved documents in the case. Secondly, it analyzes the response from the society represented by Bagge’s opponents, the press, and the judicial system.
The conclusion is that the writings extensively meet the intentions behind the King’s and Struensee’s press freedom ordinance by revealing abuse of power, negligence, and irrationality in the Copenhagen brewer’s guild and the surrounding society. But 18th century Denmark obsessed with honor, class, and façade had a different view of the freedom of the press than Bagge, who was convicted of libel by the courts. The analysis shows that in a society where value was judged mainly by rank and etiquette, the form of the debate was constitutive of the content. A blunt and unpolished language reflected the author's malicious intent, evil character, and untrustworthiness in contrast to the insight, conscience, and conviction assumed by the ordinance. Furthermore, the debate focused mainly on Bagge’s social status, his murky motives for writing, and a perceived threat to public order. His critics constructed an ideal public sphere consisting solely of sensible and cultivated readers in contrast to the mob, to which Bagge allegedly appealed.
But as history showed, the public might have benefitted from listening to Bagge instead of discarding him as an embarrassing troublemaker. When the monopoly of beer brewing was abolished thirty years later, many of his thoughts and observations were considered relevant by the commissions and administration.

Nordic Narratives of Nature and the Environment is the first English language anthology that presents ecocritical research on northern European literatures and cultures. The contributors examine specifically Nordic narratives of nature and the environment, with a focus on the cultures and literatures of the modern northern European countries Denmark, Finland, Norway, and Sweden, including Sápmi, which is the land traditionally inhabited by the indigenous Sami people.
Covering northern European literatures and cultures over a period of more than two centuries, this anthology provides substantial insights into both old and new narratives of nature and the environment as well as intertextual relations, the variety of cultural traditions, and current discourses connected to the Nordic environmental imagination. Case studies relating to works of literature, film, and other media shed new light on the role of culture, history and society in the formation of narratives of nature and the environment, and offer a comprehensive and multi-faceted overview of the most recent ecocritical research in Scandinavian studies.

The paper presents the emergence of H. Ch. Andersen's tales in Hungarian culture from the sporadic translation of tales in the press in the 1840s and in the early 1850s to the first (selected) collection of Andersen's tales published in 1858  by Júlia Szendrey, paying special attention to press as a medium for introducing new genres and authors and Andersen's tales providing for women and acceptable opportunity to enter the literary market in a period when the possibility of women's literary career was highly criticized in Hungary.

This bachelor thesis discusses the doppelganger motive in the Scandinavian Literature based on Romanticism and Contemporary Literature. It draws a comparison between two works: Hans Christian Andersen's fairytale "Skyggen" in Danish and Isabelle Ståhl's novel "Just nu är jag här" in Swedish.

Special thanks to Jan Fischer.