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Despite being a minor language, Danish literature is one of the world's most actively translated, and the Scandinavian country is the home of a number of significant writers. Hans Christian Andersen remains one of the most translated authors in the world, philosopher Søren Kierkegaard inspired modern Existentialism, Karen Blixen chronicled her life in colonial Kenya as well as writing imaginary, cosmopolitan tales, and the writers among the circles of literary critic Georg Brandes in the late 19th century were especially important to the further development of European Modernism. Danish Literature as World Literature introduces key figures from 800 years of Danish literature and their impact on world literature. It includes chapters devoted to post-1945 literature on beat and systemic poetry as well as the Scandinavia noir vogue that includes both crime fiction and cinema and is enjoying worldwide popularity.
Investigates the influence of Danish literature on world literature, from Hans Christian Andersen to modern Scandinavian crime fiction.
Volume 1.
Danish literature from 1000 to 1900 is an account of Danish literature from the earliest period to the modern breakthrough of the late 19th century. Together with Danish literature in the 20th and the early 21st century this volume forms a complete history of Danish-language literature. At a time when information about individual authors and their works is only a quick click away and constantly updated, it can be an advantage to gather together this myriad of information and place it in coherent order particularly for readers unable to read Danish. That is the basis for these two volumes on Danish literature. They provide a framework within which the richness of information about authors and their works can be appreciated as forming a rich, connected and connecting narrative. Danish Literature from 1000 to 1900 is an inclusive and networked literary history that does not turn literary texts into mute museum pieces. The volume includes an analysis of the world famous Danish History of Saxo Grammaticus of the middle ages as well as a presentation of the renaissance masterpiece, Memoirs, by Leonora Christina Ulfeldt. The writings of the leading enlightenment author, Ludvig Holberg, are also introduced and the romanticist novelist Thomasine Gyllembourg, the fairytale author Hans Christian Andersen and the philosopher Søren Kierkegaard are key figures of the historic exposition. The volume is concluded by an introduction to the authors of the modern breakthrough. Central international contributions to literary studies and extensive discussion on periodization is included in Danish Literature from 1000 to 1900 so that readers may relate this periodization to the periodization of other national literatures. The volume also includes chronological overviews and notes on literary studies discussion of historiography and influential recent research and approaches to Danish literature.
Hans Christian Andersen is indisputably the best known of all Scandinavian writers, his tales and stories having been translated probably into more languages than any other work except the Bible. He is also one of the greatest travelers of nineteenth-century belles lettres and few were the major European cities, capitals, and countries he did not visit, many of them several times: Vienna, Berlin, Dresden, Leipzig, Weimar, Paris, and London. He met and became friends with some of the most outstanding representatives of the European artistic community: Charles Dickens, Victor Hugo, Alexandre Dumas père, Franz Grillparzer, Heinrich Heine, the Brothers Grimm, Wilhelm von Kaulbach, Franz Liszt, Felix Mendelssohn-Bartholdy, Clara and Robert Schumann, to mention a few. Andersen was the first notable Danish writer of proletarian origin, and even though he was never able to overcome his personal traumas, he became extremely successful in climbing the social ladder receiving invitations wherever he went from nobility and royalty and being showered with recognition and decorations. He read aloud to and was feted by Maximilian II of Bavaria, Friedrich Wilhelm IV of Prussia, Grand Duchess Sophia of Austria, and Friedrich August II of Saxony. Even though he also was a frequent visitor at the Danish court Andersen always felt more appreciated abroad. In spite of Andersen's status as a world-renowned writer, no critical treatment has thus far discussed him as a key figure in European contemporary culture and a cosmopolitan personality. The contributors to the present volume -- all of whom are acclaimed Andersen scholars -- have made extensive use of the vast material available in Andersen's diaries, almanacs, autobiographies, and letters. Most of this material, now made available in English for the first time, allows a new Andersen to emerge, different from the traditional portrayal of him as a content and happy storyteller -- a myth indeed! To the contrary, all contributors of this volume discuss his complexity, the traumas and disillusionments of a professional artist constantly struggling to maintain his position and incessantly worried about running out of inspiration. This volume -- besides presenting biographical information in an international perspective -- focuses on Andersen's fascinating psychological make-up, his taste in music, literature, and the pictorial arts, the contemporary critical reception of his work, and explores his creative universe in a more general sense including his poetry, novels, plays, and travelogues. Andersen's overall artistic achievements are viewed in the context of world literature.
Approaching Romanian literature as world literature, this book is a critical-theoretical manifesto that places its object at the crossroads of empires, regions, and influences and draws conclusions whose relevance extends beyond the Romanian, Romance, and East European cultural systems. This “intersectional” revisiting of Romanian literature is organized into three parts. Opening with a fresh look at the literary ideology of Romania's “national poet,” Mihai Eminescu, part I dwells primarily on literary-cultural history as process and discipline. Here, the focus is on cross-cultural mimesis, the role of strategic imitation in the production of a distinct literature in modern Romania, and the shortcomings marking traditional literary historiography's handling of these issues. Part II examines the ethno-linguistic and territorial complexity of Romanian literatures or “Romanian literature in the plural.” Part III takes up the trans-systemic rise of Romanian, Jewish Romanian, and Romanian-European avant-garde and modernism, Socialist Realism, exile and émigré literature, and translation.