Danish Literature

In 1848, the Danish philosopher Søren Kierkegaard wrote a short yet highly significant theater review, titled “Mr. Phister as Captain Scipio.” This review deals with a seemingly prosaic problem: how can an actor convincingly play the role of a drunk police captain while simultaneously disclosing that this captain is deliberately concealing his intoxicated condition? This article argues that this ‘disclosure of concealment’ underlies Kierkegaard’s oeuvre. It elucidates this argument by illustrating that the three levels of theatrical performance highlighted in “Mr. Phister as Captain Scipio” correspond to three parallel levels of authorial performance. Drawing inspiration from the actor, Kierkegaard adopts the persona of a pseudonym who conceals his true identity behind an incognito while simultaneously disclosing that this pseudonym is hiding something. Emulating the dramatic performativity of the actor, Kierkegaard developed a method of indirect communication that constantly works against itself and thus relies on a form of linguistic performativity.

Paisagem e Natureza são temas que se tornaram largamente difundidos nas pesquisas em História, Arqueologia, Letras e Arte, sobretudo nos últimos vinte anos. Deixando de ser entendida apenas como um mero cenário ou "pano de fundo" para a existência humana, a paisagem passou ser entendida como construto cultural e arena central da vida social. Hoje, entendemos que paisagem é mais do que a "Natureza" ou "o mundo lá fora" em oposição à cultura e ao nosso ambiente construído. Sabemos que a paisagem é produto da interação entre seres humanos e ambientes, ou seja, é construída pela prática e experiência de comunidades e indivíduos (cf. Ingold 1993, 1996, 1998). Os atuais estudos da paisagem estão aliados ao que costumamos designar como "nova virada espacial" (cf. Bodenhamer 2010), que trazem a reflexão sobre o espaço para o centro de análise, visando compreender os processos não apenas de construção, mas igualmente de alteração da paisagem pelas formas de sociabilidade, práticas cotidianas e pela historicidade da vivência local e regional. São pesquisas que buscam, portanto, entender as articulações entre paisagens imaginadas (suas concepções, imagens e representações) e paisagens vividas (sua morfologia, ambiente construído e formas de monumentalização). É na interação dessas experiências do espaço e da paisagem que temos os usos diferenciados e processos de apropriação, que tanto nos têm interessado. Nesse dossiê da revista Brathair, trazemos ao público brasileiro algumas dessas discussões atuais sobre os temas de paisagem e natureza aplicadas ao estudo das sociedades celtas e germânicas a partir da cultura material, dos registros históricos, assim como dos mitos e lendas dessas sociedades. Para elas, a relação entre os indivíduos e ambiente destaca-se não só como um modo de vida, uma preocupação e compreensão com a terra e o meio-ambiente em si, como largamente têm mostrado os pesquisadores de correntes ambientalistas, mas também, e sobretudo, na produção e alteração de paisagens mentais e materiais.

This article examines J.P. Jacobsen's short-story Pesten i Bergamo (1881) through the lens of Bakhtin's carnivalesque. Bakhtin's carnival is a medieval societal alterity which takes hold in times of societal upheaval, here the spread of plague, and is depicted in the medieval literary mode identified as grotesque realism. It notes the narrative points in Jacobsen's story that cohere to Bakhtin's grotesque realism in two ways: the debauchery of the Old Bergamese citizenry, and the carnivalesque mockery of medieval religious practices, providing a structured inversion of previous societal practices established in the short story. It also examines close intertextual links between these elements in Pesten i Bergamo and Giovanni Boccaccio's Decameron, offering a potential source for Jacobsen's usage of grotesque realism as a literary mode and his depiction of societal reactions to widespread illness. Finally, it explores the literary geography of Pesten i Bergamo and how it coheres to the verticality of Dante Alighieri's Commedia, specifically Inferno and Purgatorio. The article concludes that Jacobsen, knowingly or unknowingly, employed carnivalesque topoi to convey a medieval sense of medieval, following the medieval literary tradition broadly and more specifically the fourteenth-century Italian literary tradition, matching the temporal and geographic setting of Pesten i Bergamo.

Le Mille e una Notte e la Bibbia, questa l’eredità poetica, più che materiale, che il quattordicenne Niels Bryde porta con sé lasciando la casa paterna, la Torre Rotonda, e la Copenaghen della sua infanzia per dirigersi alla volta delle brughiere dello Jutland, in compagnia del pastore Japetus Mollerup. Viene introdotto così nelle prime pagine il protagonista, come un giovane di belle speranze e dalla brillante intelligenza, capace di memorizzare alla sua età i lunghi e complicati versi di Orazio; un vanto per tutti gli studenti che lo avevano affettuosamente adottato dopo la prematura perdita di entrambi i genitori.

Omverden Ydre rum Sociologi Genresignatur Taerskel Teori Litteraer tekst Indre rum Analyse 68 Another place were genre labels can occur is on the list of works by the same author, as demonstrated by Genette (1997, 96ff). 69 I have used the advanced search tool netpunkt.dk, which is used by the national librarians. 70 Earlier, I suggested four categories (Nyboe 2015), but after valuable advice from Amy J. Devitt, I have merged the first two. I am confident that the distinctions made here are more harmonic, and I thank Dr. Devitt for the suggestion. 74 Bazerman (1994) has been developing a similar concept under the term "genre system". 75 One could include reviews and scholarly analysis because these also participate in presenting the work. However, they are not part of the paratext in Genette's definition, as none of them has the author or his allies as its source (cf. Genette 1997, 2). Furthermore, it becomes more difficult to talk of a group with common purposes if one includes critiques and scholars.

Although his name is not familiar to most 21 st-century Americans, the Danish literary critic Georg Brandes (1842-1927) was the most internationally-renowned Danish intellectual of the early 19 th century. Aspiring writers from half a dozen countries deluged him with manuscripts to review, while German, English, and American tourists in Copenhagen believed, as Brandes remarked in a letter to Asta Nielsen in October 1920, that "I belong to the sights of Copenhagen as much as the Round Tower." 1 He was in high demand to give lectures all across Europe and his works were published in a dozen languages during his lifetime. Although he was a highly controversial figure in Denmark, the Danish-American expatriate community was intensely proud of this famous Dane, "one of the geniuses of which each century only produces one, … a Danish man whose intellectual equal has never been produced by our small country," 2 and finally succeeded in persuading him to come to America to lecture in May 1914. Brandes only spent a few weeks in the United States, but his momentous, successful visit on the eve of World War I illuminates a pivotal moment in the history of Danish-America and its self-perception in relation to Denmark and Danish culture. As an internationally prominent socio-political and literary critic, Brandes occupied a de facto representative position as the voice of Denmark abroad. His professional endeavors, ranging from the cultivation of a realistic literary aesthetic to his critiques of the merits and significance of such towering cultural icons as Napoleon, Shakespeare, Goethe, and Jesus, encompassed a concomitant metacultural component of shaping contemporary public perceptions of Danish culture, particularly outside Denmark. Benjamin Lee, professor of anthropology at The New School for Social Research, defines metaculture as denoting "judgments people make about similarities and differences, [when] they judge token George Brandes in 1919.

The Colorism Project, Inc. is accepting submissions for essays to be featured in an upcoming edited book on colorism. We are interested in well-crafted submissions that focus on the complexities of colorism through lived experiences, understanding, thoughts and concepts. It is through this publication that we hope to bring awareness about the impact colorism has on members of society. Colorism involves distinctions based on skin color (light, medium, or dark) and results in the favorable or unfavorable treatment, discrimination and biases of individuals based on the lightness or darkness of their skin color and can also include other phenotypes. "With its foundation deeply rooted in prejudice and stereotypes, racism, and white superiority, supremacy, and privilege, colorism is detrimental to the psychological, emotional, physical, and social wellbeing of individuals and communities, and is complex in nature" (Colorism Project, 2006). Colorism occurs consciously and subconsciously, and acts of colorism can be intentional or unintentional, hence, the "complexity." Colorism is one of the many issues deeply impacting the global community-both interracially and inter-racially. The pervasiveness of this global phenomenon is traumatizing on many levels.

Alphonse de Lamartine, Confidenze e Nuove confidenze. A cura di Pietro De Marco. Traduzione e introduzione di Ivanna Rosi, Firenze, Le lettere (Pan Classici di tutte le letterature, 50), 2024, 325 p.

Le Confidences  di Alphonse de  Lamartine sono una singolare autobiografia, che esclude  l’età adulta, i ricordi  dell’uomo di lettere  e del politico, per concentrarsi  sulla prima parte della vita, la lunga  “infanzia” che  include  adolescenza e giovinezza. Sull’io predominano  i luoghi, le abitazioni, i personaggi familiari. Sono resuscitati  ricordi, eretti monumenti  pieni dei colori della vita  a figure scomparse. Vengono evocati  la casa e il giardino di Milly, la casa  familiare di Mâcon, il salotto dello zio  capofamiglia  con  i suoi visitatori. L’io si  imbeve  dell’esistenza familiare, della  centrale figura materna. Un’opera di resurrezione del passato, in una natura non lussureggiante  ma amata e impressa in tutti i suoi  particolari nella memoria. Una memoria  visionaria, nostalgica , spesso  romanzesca, satura di una verità  trasfigurante.  La narrazione della giovinezza doveva culminare con l’esperienza della passione e al tempo stesso del lutto nei due episodi  di Graziella  e di Raphaël, storie d’amore  e di morte, in cui l’autobiografia  si fa decisamente romanzo. I due brevi romanzi assunsero presto  una loro autonomia  editoriale, separandosi  dal racconto familiare,  dominante  nella nostra edizione. Le Confidences costituiscono peraltro il fondamento  dell’edificio autobiografico che Lamartine continuerà a costruire  negli scritti successivi.

Præsentation 1: Abraham, Isak & Kristus - “Din eneste søn.”
”I tro bragte Abraham Isak som offer, da han blev sat på prøve, og var rede til at ofre sin eneste søn, skønt han havde fået løfterne, …” Hebr 11,17. ” Da Abraham så op, fik han øje på en vædder, som hang fast med hornene i det tætte krat bagved. Abraham gik hen og tog vædderen og bragte den som brændoffer i stedet for sin søn.” 1 Mos 22,13

Præsentation 2: Jesu offer – ”Han trådte i synderes sted.”
”Kristi offer som soning for synd er den store sandhed, omkring hvilken alle andre sandheder klynger sig. For at blive rigtigt forstået og værdsat, må enhver sandhed i Guds Ord, fra Første Mosebog til Åbenbaringen, studeres i det lys, der strømmer fra korset på Golgata. Jeg præsenterer for jer det store, storslåede monument af barmhjertighed og fornyelse, frelse og forløsning – Guds Søn opløftet på korset. Dette skal være grundlaget for enhver tale, der holdes af vores prædikanter.” Ellen White, Gospel Workers (1915), 315.

Præsentation 3: Herrens store dag – ”Da skal jeg kende fuldt ud, ligesom jeg selv er kendt fuldt ud.”
”Retten blev sat. Bøgerne blev åbnet.” Dan 7,10. ”Han svarede mig: ’2300 aftener og morgener! Derefter skal helligdommen få sin ret tilbage.” Dan 8,14. ”Den rette forståelse af tjenesten i den himmelske helligdom er grundlaget for vores tro.” Ellen White, Evangelism (1946), 221.

Temadag, Østervrå Adventistkirke, november 2024.
Vintermøde for de fynske adventistmenigheder, februar 2024.
Temadag, Faxe Adventistkirke, januar 2024.

Vi ho ingannato, vi ho maltrattato e tormentato, ho dato per scontata la vostra obbedienza e ho risposto alla vostra disobbedienza con castighi e supplizi – in breve, sono stato come Yahweh per voi… (Un Idealista, Atto X). Così, all’apice della sua lucida follia, re Erode arringa la sua attonita corte, inorridita e terrorizzata dalle atrocità di cui durante il suo lungo regno il sovrano si è macchiato. Colui che siede fermamente sul trono e calca saldamente la corona sul proprio capo non è un folle omicida, almeno non solo, ma un uomo che ha scelto di conquistare il regno per potersi vendicare del popolo ebraico e del Dio di Giacobbe, ritenuti responsabili dell’esilio millenario della sua stirpe e del furto della sua legittima eredità. È il re di un popolo che detesta, il vassallo di un impero che non serve, un genio votato a una sola vocazione: il potere e il suo mantenimento. Chi però riuscisse per un momento a distogliere lo sguardo dall’orrore dei suoi delitti scoprirebbe un uomo dalle qualità eccezionali che ha impegnato ogni forza, affetto e scintilla della sua genialità a perseguire la missione di cui si è autoinvestito. Praticamente, Un Idealista.

Dicembre 1842. Adolph Peter Adler, pastore delle piccole comunità danesi di Hasle e Rutsker, nella lontana isola di Bornholm, sconvolge la società del suo tempo dichiarando di aver ricevuto una Rivelazione direttamente da Gesù Cristo sul problema dell’origine del male e di averla trascritta sotto dettatura nei suoi Sermoni. Il pastore Adler è davvero un Apostolo, come pretende di essere, o i suoi scritti sono frutto esclusivo del suo genio poetico? La Chiesa Ufficiale si pronuncerà rapidamente per la rimozione del pastore dal suo incarico, ma a Copenaghen si discuterà ancora a lungo di quello che sarà presto definito Il Caso Adler. Ai temi dell’Autorità e della Rivelazione, del Genio e dell’Apostolo, proprio a partire dalla vicenda di quel pastore che fu anche suo compagno di studi in giovinezza, Kierkegaard dedica il volume che avete tra le mani. Un’opera ponderosa e impegnativa, certamente la più sofferta della sua produzione e quella dalla più turbolenta vicenda editoriale. Otto lunghi anni di riflessione, tre stesure manoscritte, appunti e riscritture innumerevoli per un’opera mai definitivamente chiusa e che l’autore rifiuterà di dare alle stampe. Solo nel 1872 Barfod radunerà e selezionerà il materiale di quello che fino ad allora era non più che un “libro fantasma”, ormai tardi per poter godere della stessa fortuna che avrebbe avuto quando il nome di Adolph Peter Adler era sulla bocca di tutti a Copenaghen. Ancora oggi Il Gran Libro, così come lo stesso autore lo definisce nelle pagine del Diario, rimane sorprendentemente tra i testi più sconosciuti e meno commentati dell’intera bibliografia kierkegaardiana. A distanza di cinquant’anni dalla prima e limitatissima edizione italiana, la presente recupera, oltre alla traduzione di Cornelio Fabro, gli apparati contenenti appunti, note e prefazioni non incluse nelle versioni manoscritte, nonché ampi brani tratti dagli scritti adleriani. Una raccolta di testi fondamentali per poter leggere in Kierkegaard l’emergere e l’evolversi dei temi e delle questioni, relative soprattutto al rapporto del Singolo con la Chiesa Ufficiale, che si faranno sempre più presenti fino a diventare cruciali nell’ultima fase della sua produzione. Prefazione di Ingrid Basso.

The article combines a reading of the theme of impermanence in Josefine Klougart's novel Om mørke (2013) with an examination of the novel's literary-historical context. The article argues that Klougart's novel should be understood as an example of lyrical fiction, and that Klougart works in a tradition of literary impressionism. The article reads the novel's fragmentary aesthetics, narration and imagery in relation to the novel's central theme of impermanence. [Swedish]

This article makes a literary analysis of the novel Jorden under Høje Gladsaxe (2002) by Camilla Christensen as part of 'a literary history of the Danish ghetto'-literary works that depict Danish deprived housing areas and their development, changing valorisations and forms of life. The article argues that through an insightful third-person narrator with a wide-ranging conception of time and place, Jorden under Høje Gladsaxe offers a wide historical, societal and national perspective on the sociogeographical marginalisation of the housing areas. The novel links housing policy and architecture to the non-place-in line with Marc Augés well-known concept-that Høje Gladsaxe appears as in 2001. The novel also links the degrading treatment of unemployed and precarious persons in the late-modern welfare state to the maintenance of Høje Gladsaxe as a non-place. Furthermore, the article argues that the magical realism, gallery of characters and use of legend material makes the novel a literary voice that opposes widespread prejudice against inhabitants of the housing areas, as well as a predominant social realist way of writing about them. Finally, the article connects the novel to two main tendencies in the literary history of the Danish ghetto: the 'expert narrative' that identifies the structures behind the making and current state of the deprived housing areas, and the 'autotopography' where authors write about life in real housing areas on the basis of their own experience, thus offering valuable perspectives on very pertinent social matters.

is one of the prominent representatives of world literature. He has an invaluable contribution to the development of fairy tale writing.He opened new horizons for dreams, helping them soar in the golden realm of imagination. Andersen devoted light and kindness to the troubled world and decorated it with the spiritual diamonds of his works. Hans Christian Andersen created a unique planet full of miracles, emerald dreams, and heartwarming hopes. In that magical world, the snowy queen brings eternal winter, Thumbelina takes incredible journeys, the little girl tries to survive the frost with the flame of matches… These characters enriched individual and universal imagination, broadened the borders of reality, gave humanity the flowers of beauty. Among these fairy tales, there is another great and thought-provoking work: "The Emperor's new clothes." It was first published in Copenhagen in April 1837. This work was included in the installment of "Fairy tales told for children." Andersen's version of the tale is based on a German translation of a story first published in 1335 by Spaniard Juan Manel, Prince of Villena: Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio). Manel attributed his collection of 51 cautionary tales to various sources including Aesop, other classical writers and Arabic folktales. Andersen's story differs from Manel's in that the latter has the king hoodwinked by weavers who claim that the suit of clothes can only be seen by men of legitimate birth, whereas in Andersen's story, the weavers play on the emperor's vanity by saying the suit is only visible to people who are clever and competent. Manel's version is similar to one found centuries earlier in Indian literature. The earliest known reference being in an anthology of fables from 1052 that tells of a dishonest merchant who swindles the king by pretending to weave a supernatural garment that cannot be seen or touched by any person of illegitimate birth (2). The tale of "The Emperor's new clothes" expresses human naivity, outlines the borders of truth and falsity, describes the tremendous power of illusion. Andersen shows that sometimes

Јенс-Мартин Ериксен, дански писац, аутор је романа Бели конопац за Филипа Депреа, као и многобројних књига посвећених политичким приликама на Балкану. Иако своје дело не тумачи у контексту жанровске књижевности, ова одредница му највише одговара – Ериксенoв роман ретко кад излази ван домена жанра политичког трилера. Упркос томе што делу недостају естетски квалитети, одабрано је за предмет истраживања због покушаја приказивања болне теме: трговине људским органима током трагичних збивања на Косову и Метохији. Тумачење Ериксеновог романа биће, у односу на ову тему, али и доминанте приповедне поступке, бити остварено и у ширим оквирима и то пре свега у односу на разматрање односа политике, идеологије и књижевности.

The rejection of luxury and fashion in Denmark-Norway during the 18th century, along with similar sentiments across Europe, has been widely acknowledged and described as a form of anti-fashion. This article focuses on a variant of anti-fashion identified as ”health and fitness naturalism,” which focuses on the negative impact of fashion on health. Using the journal Sundhedstidende, published from 1778 to 1781 by the physician and professor Johann Clemens Tode, this study examines how fashion was critiqued from a health perspective in the 18th century.

Paisagem e Natureza são temas que se tornaram largamente difundidos nas pesquisas em História, Arqueologia, Letras e Arte, sobretudo nos últimos vinte anos. Deixando de ser entendida apenas como um mero cenário ou "pano de fundo" para a existência humana, a paisagem passou ser entendida como construto cultural e arena central da vida social. Hoje, entendemos que paisagem é mais do que a "Natureza" ou "o mundo lá fora" em oposição à cultura e ao nosso ambiente construído. Sabemos que a paisagem é produto da interação entre seres humanos e ambientes, ou seja, é construída pela prática e experiência de comunidades e indivíduos (cf. Ingold 1993, 1996, 1998). Os atuais estudos da paisagem estão aliados ao que costumamos designar como "nova virada espacial" (cf. Bodenhamer 2010), que trazem a reflexão sobre o espaço para o centro de análise, visando compreender os processos não apenas de construção, mas igualmente de alteração da paisagem pelas formas de sociabilidade, práticas cotidianas e pela historicidade da vivência local e regional. São pesquisas que buscam, portanto, entender as articulações entre paisagens imaginadas (suas concepções, imagens e representações) e paisagens vividas (sua morfologia, ambiente construído e formas de monumentalização). É na interação dessas experiências do espaço e da paisagem que temos os usos diferenciados e processos de apropriação, que tanto nos têm interessado. Nesse dossiê da revista Brathair, trazemos ao público brasileiro algumas dessas discussões atuais sobre os temas de paisagem e natureza aplicadas ao estudo das sociedades celtas e germânicas a partir da cultura material, dos registros históricos, assim como dos mitos e lendas dessas sociedades. Para elas, a relação entre os indivíduos e ambiente destaca-se não só como um modo de vida, uma preocupação e compreensão com a terra e o meio-ambiente em si, como largamente têm mostrado os pesquisadores de correntes ambientalistas, mas também, e sobretudo, na produção e alteração de paisagens mentais e materiais.

Her følger nogle grundlæggende strategier til at håndtere sygdomsangst ved at dæmpe sikkerhedsadførd. Strategierne har til formål, at du gradvist opbygger en tillid til, at du kan være i uvisheden og usikkerheden, uden at ty til kontrol og sikkerhedsadfærd:

For our current issues we are looking for articles focusing on diverse aspects of Eastern European musical culture (defined by the territory of post-communist European states). We welcome historical probes into the musical culture of the region as well as interdisciplinary reflections on contemporary phenomena, with overlaps into music sociology, cultural studies, popular music studies, ethnomusicology, and topics such as music and politics, music and national identity, or music and gender. We welcome a comprehensive approach that compares the issues of individual states in the region and places them on the West-East axis. Likewise, we favour a wide range of issues related to Czech (Czechoslovak) musical culture. Submission Guidelines The articles can be written in English, French, German, Czech and Slovak (4000-8000 words including footnotes).
Introducing the journal Musicologica Olomucensia is an independent, open-access, double-blind peer-reviewed journal dedicated to the broad scope of musicology and its interdisciplinary intersections. It has been published since 1993 by Palacký University Olomouc and it belongs to the wellestablished musicological journals in the Czech Republic. Musicologica Olomucensia is indexed by ERIH PLUS, CEEOL, DOAJ, RILM, EBSCO and Crossref databases. In 2024 the submission to Scopus is under consideration.

Betingelser for brug af denne artikel Denne artikel er omfattet af ophavsretsloven, og der må citeres fra den. Følgende betingelser skal dog vaere opfyldt:  Citatet skal vaere i overensstemmelse med "god skik"  Der må kun citeres "i det omfang, som betinges af formålet"  Ophavsmanden til teksten skal krediteres, og kilden skal angives, jf. ovenstående bibliografiske oplysninger. Søgbarhed Artiklerne i de aeldre LexicoNordica (1-16) er skannet og OCR-behandlet. OCR står for 'optical character recognition' og kan ved tegngenkendelse konvertere et billede til tekst. Dermed kan man søge i teksten. Imidlertid kan der opstå fejl i tegngenkendelsen, og når man søger på fx navne, skal man vaere forberedt på at søgningen ikke er 100 % pålidelig.

Drawing on Friedrich Schiller’s theory of idyll in poetry, the text asks for the relevance of idyll for the music of Niels W. Gade, exemplarily with regard to his choral-orchestral Frühlings-Botschaft op. 35 to a text by Emanuel Geibel. Contemporary reception, which explicitly classified the piece as ‘idyll’, praised it for several decades. Analysis of text and music suggests that this connectivity might be the consequence of the composition’s managing of creating a hypertrophy of aesthetic and structural layers, yet in an ulterior
manner. With regard to Schiller’s utopia of Elysian idyll, Gade’s composition appears to come close to its ideal: by evoking tension without struggle, idyll without stagnancy. And it might be these kinds of assets that form not only a central trait of Gade’s choralorchestral work but of his music in general.

Death, as we may call that unreality, is the most terrible thing, and to keep and hold fast what is dead demands the greatest force of all. Beauty, powerless and helpless, hates understanding, because the latter exacts from it what it cannot perform. But the life of the mind is not one that shuns death, and keeps clear of destruction; it endures death and in death maintains its being. It only wins its truth when it finds itself utterly torn asunder. It

aervaerende nummer af Ledelse og Erhvervsøkonomi er redigeret af professor Erik Johnsen. Dette markerer samtidig Johnsen's 50 års jubilaeum i tidsskriftets redaktion. En enestående begivenhed i et tidsskrifts historik. For i 50 år har Johnsen på fornem vis sat sit fi ngeraftryk på udviklingen af tidsskriftets faglighed og redaktionelle linje. Det hele begyndte i 1958, hvor Johnsen, som netop var blevet amanuensis, blev udnaevnt til redaktionssekretaer i tidsskriftet som dengang hed Erhvervsøkonomisk Tidsskrift. I 1987 aendredes navnet til Ledelse og Erhvervsøkonomi. I perioden 1968 til 1998 var Johnsen hovedredaktør. Og siden har han vaeret redaktør under skiftende hovedredaktørers ledelse. Dette nummer af Ledelse og Erhvervsøkonomi markerer ikke alene Johnsens 50 jubilaeum som medlem af redaktionen. Det markerer også, at der saettes et punktum for Johnsen aera i tidsskriftets historie. For Johnsen har besluttet at stoppe og udtraede af redaktionen. På vegne af de mange laesere som gennem tiden har nydt glaede af Ledelse og Erhvervsøkonomis artikler samt det store antal forfattere, som har bidraget til tidsskriftets faglighed og status, vil vi gerne rette en stor tak til Johnsen for den enorme indsats, han gennem årene har lagt i den løbende professionalisering af tidsskriftet. For spørgsmålet om hvordan Ledelse og Erhvervsøkonomi har kunnet blive bedre, har stedse stået på Johnsens dagsorden. Som medredaktører og kolleger vil vi desuden rette en stor tak til Johnsen for et uhyre konstruktivt, indsigtsfuldt og til tider også munter samspil.

Fortaellingen om ridderen af den bedrøvelige skikkelse, Cervantes' Don Quijote, blev ikke oversat til dansk før hen mod slutningen af 1700-tallet, mens den i dag temmelig langt mere ukendte fortaelling ved navn Carcel de Amor, som F.J. Billeskov Jansen i øvrigt har kaldt for "den første moderne Roman i vort Sprog" blev trykt hele to gange på dansk i 1600tallet, men så heller ikke mere. 1 Dette bibliografiske faktum indbyder til en undersøgelse. Sådan set bør den slags udskiftninger i den internationale kanon ikke undre; hvad der på ét tidspunkt bliver hyldet i høje toner, kan vaere helt uden interesse for andre generationer; på den måde kan et vaerk få den tvivlsomme aere alene at tilhøre litteraturhistorikerne. Man kan sige det kort: Don Quijote hørte fremtiden til, det gjorde Carcel de Amor ikke rigtigt. Begge vaerker blev importeret fra Spanien på forskellige tidspunkter og fandt laesere inden for forskellige rammer i tvillingeriget Danmark-Norge. Her skal det dreje sig om Carcel de Amor (Kaerlighedens faengsel). Det ville vaere interessant at finde svar på spørgsmålet om, hvad i alverden der kunne gøre en følsom roman fra Spanien relevant for en laesende offentlighed i Danmark dengang i 1600-tallet. Det er også vedkommende at spørge til, hvad der sker i en sådan

This article makes a literary analysis of the novel Jorden under Høje Gladsaxe (2002) by Camilla Christensen as part of 'a literary history of the Danish ghetto'-literary works that depict Danish deprived housing areas and their development, changing valorisations and forms of life. The article argues that through an insightful third-person narrator with a wide-ranging conception of time and place, Jorden under Høje Gladsaxe offers a wide historical, societal and national perspective on the sociogeographical marginalisation of the housing areas. The novel links housing policy and architecture to the non-place-in line with Marc Augés well-known concept-that Høje Gladsaxe appears as in 2001. The novel also links the degrading treatment of unemployed and precarious persons in the late-modern welfare state to the maintenance of Høje Gladsaxe as a non-place. Furthermore, the article argues that the magical realism, gallery of characters and use of legend material makes the novel a literary voice that opposes widespread prejudice against inhabitants of the housing areas, as well as a predominant social realist way of writing about them. Finally, the article connects the novel to two main tendencies in the literary history of the Danish ghetto: the 'expert narrative' that identifies the structures behind the making and current state of the deprived housing areas, and the 'autotopography' where authors write about life in real housing areas on the basis of their own experience, thus offering valuable perspectives on very pertinent social matters.

De søblaa Blik d'Emil Aarestrup Traduit du danois par Damien Labadie Les regards bleu marine 1 Elle me regardait 2 , et son regard Était pareil à un lac bleu ; Les ondes venaient, les ondes partaient, Dans l'abîme un ciel reposait. Un ciel qui attirait avec puissance, qui avec puissance, Arrachait 3 le spectateur ; Un précipice qui, avec la splendeur de toutes étoiles, Ne relâchait plus 4 sa proie. Il laissait découvrir un monde tentateur, Éthéré, frais 5 et clair, Un paradis onirique en suspension, Toujours sous le verre 6 ondoyant. Il promettait tout ce qui pouvait être promis 7 , ____________ Damien Labadie-http://damienlabadie.blogspot.com/ Ce dont le coeur languit 8 , Ce que la sirène promettait au pêcheur Par le jeu trompeur des vagues. Il me fallait 9 mourir, mourir dans les vagues ; Je dévorai les regards langoureux, Et soudain je fus englouti dans la mer ondoyante, Je sombrai et perdis connaissance 10. Elle souriait ainsi avec ces regards fixes Avec lesquels la mer sourit au clair de lune ; Elle ne s'aperçut pas qu'une 11 âme avait péri,

Therefore, even though the future looks with
much prospects for a very few who belong to the
elite and the powerful fractions, the future is bleak
for the majority who belong to the proletariat.
Therefore, in today‘s contemplations there is a
promotion towards the Litter Traditions and Multiple
Narratives where the texts, contexts, and textures of
meanings projected by the minority communities or
individuals through their oral or written narratives
are taking the center stage.

IS Med - Interdisciplinary Studies on the Mediterranean: Submission
I.S. MED - Interdisciplinary Studies on the Mediterranean
Deadline for abstract submissions: May 3, 2024 Notification of acceptance: May 5, 2024
Deadline for complete article: July 12, 2024 Tentative publication date: December, 2024

I. S. Med is seeking contributions for a special issue focusing on the interdisciplinary practice of Mediterranean literary studies. Thinking of Mediterranean studies as a field whose seminal works have often overlooked its eastern and southern shores, and yet gathered over the decades meaningful questions escaping other theoretical frames, we invite papers that critically engage with the recent debate on Mediterranean literature. They can open new perspectives for texts that are studied as part of, or marginal to, national literatures and area studies departments, or intervene in any national literary field or period of time, applying reading practices in comparative literature, world literature, area studies, or postcolonial studies. We welcome papers that cultivate new politics of memory, counteract typical geopolitical assumptions, or question foundational narratives on selfhood and otherness in the region. They can point to overlooked genealogies in literary history and canonization practices, or explore how foundational texts in ancient studies are or were received in different Mediterranean contexts. They can also focus on relevant contemporary issues, examining questions raised in dialogue with other fields such as anthropology, history, and religion, and including the way in which literature contributes to the history of Mediterranean studies as a discipline in its own right.

The guest co-editors of I.S. Med: Interdisciplinary Studies on the Mediterranean, Drs. Martino Lovato and Ceyhun Arslan are seeking submissions in English of 5,000 to 8,000 words (word count includes bibliography), alongside a 400-word abstract, 5 keywords, and a 150-word bio to be forwarded by April 20, 2024. Contributors need to adhere to the Chicago style format, https://www.chicagomanualofstyle.org/home.html.
Manuscripts and editorial communications should be sent via email and/or attachment (MSWord) to the Editors, martino.lovato@uniurb.it and cceyhunarslan@ku.edu.tr. Attachments should be marked with the last name of the contributor, followed by the name/subject of the paper. Contributors are asked to provide a cover page with their name, complete affiliation address, phone number(s), and email. I.S. Med is a peer-reviewed journal. All research articles submitted to the journal are double-blind refereed to ensure academic integrity. Strict anonymity regarding authors and referees is paramount. The editorial staff will remove the cover sheet from the manuscript before sending it for evaluation.
NOTE: Articles submitted should be entirely original and unpublished, should not be simultaneously under consideration by another publisher, should not have been published previously even in part by any other publication, and should not appear in blogs or other online sites. Proposals of English translations or edited versions of previously published works will not be considered.
For information on the journal, please contact I.S. Med’s editors in chief, Drs. Giovanna Summerfield summegi@auburn.edu and Rosario Pollicino POLLICIR@mailbox.sc.edu, or consult https://mimesisinternational.com/category/i-s-med/

Genre: Novel. Country: Iceland. "Gunnarshólmi", a patriotic and historical poem of Jónas Hallgrímsson (1807-1845), has long held a central position in the history of Icelandic literature. On one hand, it has been considered one of the standard bearers of the extensive and enduring branch of the romanticism which got its start with the poems of Bjarni Thorarensen (1786-1841) during the second and third decade of the century and has been classified as national romanticism. Poets sought to elevate Icelandic landscapes, history, and culture in their effort to strengthen the national spirit (Germ. Volksgeist) of the Icelandic people and raise their morale. On the other hand, many have focused on the new-fashioned character of "Gunnarshólmi", where traditional Icelandic subject matter is woven into classic European poetic style. With its many compound and descriptive adjectives (e.g. "golden-clawed eagles"), the poem almost has a Homeric air to it. Additionally, the poetic meters (terza rima and ottava rima) have their roots in the Italian Renaissance. Such meters had previously not been used in Icelandic poetry, but had been influential in Danish and German poetry in the former half of the century, including the classic works of German poets Goethe and Schiller.

This study looks into the various voices presented in Ashwin Sanghi’s The Krishna Key which is a postmodern Indian English novel. This study aims to explore the multiple voices present in Ashwin Sanghi’s The Krishna Key (2012) which is an anthropological thriller that revolves around a history lecturer who has been framed for his friend’s murder. Bakhtin’s notion of Dialogism was chosen for this study because it is yet to be used to analyse an Indian English suspense thriller. To date, not many studies have applied Bakhtin’s notion of Dialogism to a suspense thriller even lesser in the suspense thriller from the Indian continent. This study looks into the polyphony (multi voices) in the novel as each character reveal his or her views and intentions throughout the narrative. These instances has been identified and analysed according to Bakhtin’s concept of dialogism, polyphony and heteroglossia. The analysis is grouped into categories such as author versus his country India to show w...

Ekfraza – literacka deskrypcja dzieła sztuki – nie jest, rzecz jasna, wyłącznie dokładnym opisem artefaktu; często dotyczy również tego, czego na obrazie nie ma. W ekfrazach dzieła sztuki ulegają czasem swoistemu „ożywieniu” – narratywizacji namalowanych scen, a także uzupełnieniu ich o przed- i „poakcje” czy też o wyobrażone wypowiedzi przedstawionych postaci. Artykuł dotyczy specyficznej formy takich literackich „ożywień”, czyli tekstów, których autorzy, wykorzystując prozopopeję, oddali głos bohaterom obrazów oraz świadomym swej sztuczności (i eksponującym ją) obrazom-przedmiotom. Ciekawym (i rozbudowanym) przykładem zastosowania prozopopei jest powieść Portret P. Assouline’a. Narrację prowadzi w niej namalowana przez J.A.D. Ingres’a Betty de Rothschild. W artykule omawiam sposób i sens zastosowania tej figury retorycznej w powieści Assouline’a i zastanawiam się nad tym, czy każdy tekst literacki, w którym narratorem (dzięki prozopopei) czyni się postać z obrazu, można nazwać ekf...

The Prepositional Absolute Construction (PAC) in Modern Icelandic can be defined as a small clause containing a subject NP and a non-finite verb (a present or past participle) whose case is governed by the preposition að 'at'. Giving a brief historical overview of the PAC in Old Norse, we show how it differs from the construction in Modern Icelandic. In Old Icelandic, both dative and accusative NPs are attested in the PAC whereas in Modern Icelandic only dative NPs are found. Moreover, the distribution of the present and past participles are different in Old and Modern Icelandic. In addition, we discuss analogous constructions in a few related languages, both within Germanic (Gothic, Old High German, Old Frisian and Old English), as well as outside of Germanic (e.g., Latin and Greek). The main emphasis, however, is on a description of the PAC in Modern Icelandic based on a detailed web study of the relevant constructions. This method was chosen because it was found to be the best way to demonstrate the fact that the PAC is relatively commonly used in Modern Icelandic, both in formal and informal language situations. Most of the examples presented in this connection are from the web study, and others were reviewed by a small number of speakers in an informal acceptability study. Among the issues considered is the syntactic function of the small clause, the valency of the verbs in the PAC and the possible word order patterns within the construction.