14 research outputs found
Tarjei Vesaas and Norwegian Literature in Nazi Germany
Artikkelen undersĂžkjer publiseringshistoria til Tarjei Vesaas i Nazi-Tyskland. Det nye materialet den tilfĂžrer, er i
hovudsak basert pÄ materiale etter Det litterÊre byrÄ pÄ Lillehammer, ein aktÞr som knapt er nemnd i norsk litteratur- og bokhistorie. I det transnasjonale og bokhistoriske perspektivet som dette opnar, fÄr vi eit breiare, meir differensiert og delvis anna bilete av Vesaas og nazismen enn det som har dominert i litteraturvitskapen, og som har vore
mest konsentrert om kritisk nĂŠrlesing av Bufast-bĂžkene. Artikkelen drĂžftar Vesaasâ forhold til Tyskland og nazismen
og undersĂžkjer aktĂžrane som var med i dei tysk-norske litterĂŠre forretningane, handlingsrommet deira og korleis
dette endra seg med «arisering», einsretting, krig og okkupasjon.
The article examines Tarjei Vesaasâs publishing history in Nazi Germany. It offers new material, largely from the
archive of Det litterÊre byrÄ in Lillehammer, a literary agency hardly noticed in Norwegian literature or book history.
This opens transnational and history of the book perspectives that give us a broader, more differentiated, and partly
different picture from that emanating from close readings of his Bufast books. Vesaasâs attitudes towards Germany
and Nazism are analyzed, as well as the agents involved in the German-Norwegian literary business, their space of
action and how it changed with Arizierung, Gleichschaltung, war and occupation
How was Ibsen's modern drama possible?
One of the major renewals in the history of drama is Henrik Ibsenâs âmodern tragedyâ of the 1880s and 1890s. Since Ibsenâs own time, this renewal has been seen as an achievement accomplished in spite, rather than because, of Ibsenâs Norwegian and Scandinavian contexts of origin. His origins have consistently been associated with provinciality, backwardness and restrictions to be overcome, and his European âexileâ has been seen as the great liberating turning point of his career. We will, on the contrary, argue that throughout his career Ibsen belonged to Scandinavian literature and that his trajectory was fundamentally conditioned and shaped by what happened in the intersection between literature, culture and politics in Scandinavia. In particular, we highlight the continued association and closeness between literature and theatre, the contested language issue in Norway, the superimposition of literary and political cleavages and dynamics as well as the transitory stage of copyright
Framtida til Historisk tidsskrift
Framtida til Historisk tidsskrift var tema ved avslutninga av Norske historiedagar i TĂžnsberg i Ă„r. Som hovudredaktĂžr av tidsskriftet 2015â2018 var eg invitert til Ă„ innleie. Innlegget her er basert pĂ„ innleiinga, men ogsĂ„ utvida som respons pĂ„ synspunkt som kom fram i den pĂ„fĂžlgjande panel- og plenumsdebatten
TromsĂž Museum: museum and university in the north
Muzeum w Tromso: muzeum i uniwersytet na pĂłĆnocy Muzeum w Tromsa zostaĆo zaĆoĆŒone w 1872 roku. Podczas oficjalnej inauguracji Uniwersytetu wTroms0 w 1972 roku, Muzeum mogĆo pochwaliÄ siÄ juĆŒ stuletniÄ
historiÄ
. Przez dĆugi okres muzeum postrzegano jako centralnÄ
instytucjÄ naukowÄ
na pĂłĆnocy Norwegii, a takĆŒe jako fundament dla przyszĆego uniwersytetu. Po utworzeniu Uniwersytetu wedĆug zaĆoĆŒonych planĂłw, okazaĆo siÄ, ĆŒe plany te, odnoĆnie do muzeum, wykraczajÄ
daleko poza jego tradycyjnÄ
funkcjÄ, a w samym muzeum wkrĂłtce stwierdzono, iĆŒ pilniejszym zadaniem niĆŒ funkcja bazy dla wydziaĆĂłw uniwersytetu jest obrona swej toĆŒsamoĆci i odrÄbnoĆci. W niniejszym artykule staram siÄ nakreĆliÄ tĆo, charakter oraz gĆĂłwne linie rozwoju Muzeum w Troms0, jak i jego relacje z uniwersytetem
The de-dramatization of history and the prose of bourgeois life
Emperor and Galilean has received renewed interest the last decade. It has been
revalued and upgraded, it has been attributed a major role in the development of
Ibsenâs authorship, and it has been interpreted as an expression of the new
uncertainties of modernity. The play definitely deviates from Ibsenâs earlier
historical dramas; it does not hold up an exemplary past or try to emulate a classical
style. Rather, it seems to question history as a rational discourse and manâs capacity
to create history in a self-conscious way. It is argued that Emperor and Galilean
reflects Ibsenâs own experiences, more precisely: his experiences of defeat,
estrangement and reorientation connected to the Danish defeat to Prussia-Austria in
1864 and the unification of Germany in the years that followed. Ibsenâs historical
experiences were primarily the experiences of counter-finality and historical irony.
During the Franco-German war in 1870 he still hoped for a French victory, but a few years later he came to appreciate German unification as a world historical event. The
resulting attitude was a kind of fatalism reminiscent of the one we find in Tolstoyâs
War and Peace, published a few years earlier, but of course unknown to Ibsen. This
fatalism fit well with Ibsenâs conservatism at the time. It left him in a rather
ambiguous position, though, and there is no straight literary path leading from
Emperor and Galilean to the contemporary plays of the 1880s and 1890s
"Det moderne gjennombrotet" i lÊrarskulen. Ibsen-lesing hjÄ TromsÞ-seminaristar
I motsetning til den utbreidde oppfatninga om at «det moderne gjennombrotet» i den skandinaviske litteraturen mÞtte motstand og fiendskap, syner opplagstal at Henrik Ibsens Et dukkehjem (1879), eit av dei sentrale gjennombrotsverka, blei hans stÞrste salssuksess, og at boka nÄdde nye grupper av lesarar. Eit rikt materiale frÄ lÊrarutdanninga i TromsÞ gjer det mogleg Ä fÞlgje Ibsen-lesinga der i noko detalj, frÄ dei fyrste innkjÞpa i 1866 til byrjinga av 1880-Ära. Som ein kyrkjekontrollert, konservativ institusjon lét seminaret vere Ä kjÞpe inn mykje av den moderne litteraturen, men dei kjÞpte nesten alt av Ibsen, til og med Et dukkehjem. Det omstridde familiedramaet blei Ibsens gjennombrot som elevlesing og skapte stÞrre interesse ogsÄ for hans eldre titlar. Skulebibliotekets fyrsteutgÄve av Et dukkehjem er bevart, og lesarkommentarane i margane syner at boka blei lesen pÄ ein meir «engasjert» og «deltakande» mÄte enn dei Ibsen-titlane som var skulepensum
The Scandinavian Moment in World Literature, 2017
In the last part of the 19th century, a considerable Norwegian and Scandinavian literature emerged and by the turn of the century the main contributions to this literature had already become world literature. One part of the project (by Narve FulsÄs and Tore Rem) focuses on Henrik Ibsen and the prerequisites for a peripheral author to advance to world literary status in such a short period of time. In the subproject "Book market and Reading", PhD researchers Maria Purtoft and Henning Hansen examine who were the readers of the modern breakthrough literature in Norway, Denmark and Sweden and what were the reasons for the significant growth in the Scandinavian book market from the 1870s
Networks, asymmetries and appropriations: Towards a typology
This article, a revised version of Tore Remâs keynote lecture at the XIVth International Ibsen Conference in Skien on 5â8 September 2018, draws on pp. 140â174 in Narve FulsĂ„s and Tore Rem, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge U.P., 2018). This version expands on the theoretical-analytical framework of our suggested typology