SCANDINAVIAN STUDIES最新文献

{"title":"The Sámi World","authors":"Thomas A. DuBois","doi":"10.5406/21638195.95.3.05","DOIUrl":"https://doi.org/10.5406/21638195.95.3.05","url":null,"abstract":"The edited volume The Sámi World is available in hard copy through Routledge Press and through the Taylor & Francis eBooks platform. The anthology's main editor Sanna Valkonen (Vilgon Biret-Ánne Inger-Ánne Sanna), professor of Sámi research at the University of Lapland, is joined by co-editors Saara Alakorva (Piera-Jovnna-Leena Saara) and Áile Aikio (Luobbal-Sámmol-Aimo Áile), both doctoral students at the University of Lapland, as well as Sigga-Marja Magga, a researcher of Sámi cultural studies and an authority on Sámi duodji handicraft. The forty-two authors and editors are situated at more than fifteen different universities within and outside of the Nordic region, but with particularly strong representation from the University of Lapland, Arctic University of Norway, and Sámi University of Applied Sciences. They include both Sámi and non-Sámi people, and comprise a variety of different career stages, from doctoral students to independent scholars to university professors and researchers, to emeriti faculty members.The editors use lyrics from Sámi rap artist and philosopher Ailu Valle's Viidon sieiddit/Widened Sacred Rocks album to organize their anthology into three parts. Part I, “Guođohit [to herd]—Living with/in Nature” includes twelve articles exploring the “interdependence and interaction of the Sámi and their surroundings, both mental and physical, in different contexts” (p. 19). Articles in the section explore concrete ways in which Sámi have interacted with natural resources, be it the snow and ice that affects Sámi herding (Inger Marie Gaup Eira, chap. 11), eggs and cloudberries (Solveig Joks, chap. 9), or other food resources (Lena Maria Nilsson, chap. 10). Päivi Magga (chap. 8) examines the Sámi cultural environment in relation to contrasting Finnish regimes of landscape and heritage management. Part I also includes more abstract senses of networks of care and interdependence, including care regimens (Annikki Herranen-Tabibi, chap. 7), narrative genres (Hanna Helander and Veli-Pekka Lehtola, chap. 4), musical traditions (Marko Jouste, chap. 3), and gákti (Sigga-Marja Magga, chap. 2). Women's experiences in particular are highlighted in an examination of Sámi feminism (Saara Alakorva, Ritva Kylli, and Jarno Valkonen, chap. 6) and the experience of Sámi women within Laestadianism (Torjer A. Olsen, chap. 5). The section is opened and closed by examinations of representation: Áile Aikio's (chap. 1) analysis of museum exhibitions of Sámi culture and Nuccio Mazzullo's (chap. 12) exploration of images of Sámi culture in Finnish tourist communications.Part II, “Gierdat [to endure, to bear]—Living through/in Societal Ruptures” contains twelve articles examining Sápmi as “a battlefield of different competing claims, strategies, and interests, both economic and geopolitical” (p. 19). The section includes examinations of historical situations like boarding schools (Anna Andersen, chap. 14), social malaise in Soviet-controlled Sápmi (Lukas Alle","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Endowing of Askr and Embla, and Its Reverberations in the Poetry of Egill Skallagrímsson","authors":"William Sayers","doi":"10.5406/21638195.95.3.03","DOIUrl":"https://doi.org/10.5406/21638195.95.3.03","url":null,"abstract":"Among the accounts of cosmic beginnings in the eddic poem Vǫluspá and in Snorri Sturluson's Gylfaginning is the quickening to life of the first humans, named Askr and Embla, generally understood as “ash tree” and “elm” (or “vine”), from logs encountered by the gods along the seashore. The poetic and prose recensions are in broad agreement as to events and to the endowment of what may be understood as quintessentially human properties. The myth is contained in two stanzas in Vǫluspá (at least one introductory or transitional stanza may be missing):Unz þrír kvómu ór því liðiǫflgir ok ástkir æsir at húsi,fundu á landi lítt megandi,Ask ok Emblu ørlǫglausa.Ǫnd þau né áttu, óð þau né hǫfðu,lá né læti né litu góða;ǫnd gaf Óðinn, óð gaf Hœnir,lá gaf Lóðurr oc litu góða.1Carolyne Larrington translates:Until three gods, strong and loving,came out of that company;they found on land, capable of little,Ash and Embla, lacking in fate.Breath they had not, spirit they had not,blood nor bearing nor fresh complexions;breath gave Odin, spirit gave Hœnir,blood gave Lodur, and fresh complexions.(Poetic Edda 2014, 6)Snorri's version of the beginning of human life under divine aegis employs parallelism to a lesser extent, although the vital properties are mostly more neatly captured in individual monosyllables rather than in phrases.From his own edition, Anthony Faulkes translates: Then spoke Gangleri: “A great deal it seems to me they had achieved when earth and heaven were made and sun and stars were put in position and days were separated—and where did the people come from who inhabit the world?”Then High replied: “As Bor's sons walked along the sea shore, they came across two logs and created people out of them. The first gave breath and life, the second consciousness and movement, the third a face, speech and hearing and sight; they gave them clothes and names. The man was called Ask, the woman Embla, and from them were produced the mankind to whom the dwelling place under Midgard was given.” (Snorri Sturluson 1987, 13)The most recent examination of the story of Askr and Embla is by Anatoly Liberman in the context of a lengthy study of the name of Óðinn, the methodology of which is based in etymology (Liberman 2016, 48–9). He recalls generally accepted identifications of the key vocabulary of the Vǫluspá version but shows less concern for what superficially appears a transparent myth. In his summary of prior scholarship, “litt megandi” is rendered as “of little power” and “ørlǫglausa” as “unfated” (however this is to be understood). Of the bequeathed properties, ǫnd is “breath” or “life,” litr is “color,” and óðr is “voice.” It is immediately apparent how divergent this set is from Larrington's translations (breath, spirit, bearing, and fresh complexions). Liberman questions the relevance of mainstream interpretations of the event of becoming human. His own equivalences are considerably bolder and, he would surely judge, more essentialist. He accepts “breath” for ","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Life and Afterlife of Swedish Biograph: From Commercial Circulation to Archival Practices","authors":"Gunnar Iversen","doi":"10.5406/21638195.95.3.09","DOIUrl":"https://doi.org/10.5406/21638195.95.3.09","url":null,"abstract":"On September 22, 1941, a disastrous explosive fire took place at Vinterviken outside of Stockholm. In the devastating explosion, two people were killed, and many negatives of feature films produced by the Swedish film company Svensk Filmindustri were destroyed. The highly flammable nitrate films that the company stored in one of their facilities were consumed when a film-scrap business next door caught fire. Most of the films the company produced in its earliest years, as AB Svenska Biografteatern (Swedish Biograph), disappeared in the fire. This was the most disastrous of several accidents that befell Svensk Filmindustri and Swedish cinema in these years. A few years earlier, in 1935, another explosion happened, but that time, very little footage was destroyed, and in 1948, yet another fire destroyed a sizeable number of the paper documents held by Svensk Filmindustri.Especially, the 1941 explosion and fire had important repercussions for the afterlife of early film production in Sweden. The loss of original materials, and first and foremost, film negatives, made it hard to discuss and evaluate Sweden's early film production. This also impacted the so-called Golden Age of Swedish cinema between 1916 and 1924. Some of the most important films made in Sweden in these years, like Mauritz Stiller's Vingarne (1916; The Wings), today regarded as the first explicit love story between two men in cinema, were lost for many decades. Many other films remain lost and may never resurface.Some of the surviving films have been canonized as “masterpieces” of early cinema, especially a small number of feature films by the directors Victor Sjöström and Mauritz Stiller, but early film production in Sweden has often been overshadowed by Danish, French, Italian, and US cinema. Despite the recognition of the importance of films like Ingeborg Holm (dir. Sjöström 1913) and Erotikon (dir. Stiller 1920), the lack of international critical and academic attention to Swedish cinema before and during the Golden Age is striking. And the explosion at Vinterviken is one of the causes of this lack of attention.A book that may change this situation of neglect is Jan Olsson's The Life and Afterlife of Swedish Biograph: From Commercial Circulation to Archival Practices. Professor emeritus Olsson is the perfect man for the job of illuminating the many lives of the films produced by Svenska Bio in the early 1910s, and putting early Swedish cinema back on the map of early film history internationally. Since the mid-1980s, Olsson has published a large number of books and articles about early Swedish cinema, as well as on other topics like Hitchcock and cinematic culture in Los Angeles, and in his new book, he brings together ideas and discourses he has spent many years researching. A meticulously researched and sometimes overwhelmingly detailed book, The Life and Afterlife of Swedish Biograph is rich and rewarding. It is more than just a complex case study of early Swedish cinema, and ","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Approaching Texts of Not-Quiteness: Reading Race, Whiteness, and In/Visibility in Nordic Culture","authors":"Liina-Ly Roos","doi":"10.5406/21638195.95.3.02","DOIUrl":"https://doi.org/10.5406/21638195.95.3.02","url":null,"abstract":"In her essay “Språkrör mellan olika världar” (2011), Swedish author Susanna Alakoski writes about the history of Finnish migration to Sweden and about feeling both shame and pride concerning her Finnish heritage. The essay was republished in a collection Finnjävlar (2016),3 which compiles texts by various Swedish authors with Finnish heritage. Most of the authors, similarly to Alakoski, articulate an experience of being invisible in Sweden. By invisible, they mean that due to shared somatic features and a long cultural history, they can often pass as white Swedes, while they still experience derogatory attitudes and discrimination based on their Finnish background. Although the majority of Finnish-speakers have been identified as white, in the pseudoscientific race biology of the early twentieth century in Sweden, they were categorized as an inferior race, the “Eastern Baltic race,” which contributed to their representations in the Swedish cultural imaginary as inferior and less civilized. Thus, while invisible in their ability to pass as Swedes, the Finnish-speakers have also been made visible throughout history as being slightly different than Swedes. What Alakoski seems to be most concerned about in her essay is articulating a different kind of invisibility, namely, that of the troubling experiences of the Finnish migrants to Sweden in the second half of the twentieth century. She refers to scholarship and public debates regarding migration that are often misinformed in using the word “invandrare” “immigrant” as only non-white and that have, as she sees it, forgotten the history of Finnish migration (Alakoski 2011).4 In order to address that concern, she describes what looks like a hierarchy of visibility of different migrants in Sweden. Alakoski does not use the word “race” in her essay, instead wondering about the different attitudes regarding ethnicity, even though she implies that the non-white Swede from Afghanistan is somehow “more migrant” than the other two groups of white people, Swedes with a Finnish background, and Swedes with a Polish background, in Sweden. The question of whether her Polish friends were treated similarly to her remains hanging in the air—as does the question of race and whiteness—and she does not return to it in the essay.Alakoski's essay is ultimately about how the experiences of Finnish-speakers in Sweden have changed over the years. Her incorporation of the person of color in Sweden to express concern about how both the historically racialized white migrants and their racialization have not been fully acknowledged in the dominant culture, however, raises some questions. Why separate these three groups of migrants? What does it ultimately mean that she would like to receive the question about where she comes from? Alakoski's rhetorical move is indicative of a similar move in a variety of literary and cinematic texts about intra-Nordic migration/minorities, some of which I analyze in this article, primarily focus","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Saga of St. Jón of Hólar","authors":"Natalie Van Deusen","doi":"10.5406/21638195.95.3.07","DOIUrl":"https://doi.org/10.5406/21638195.95.3.07","url":null,"abstract":"In 1997, the so-called Icelandic family sagas and tales (Íslendingasögur and þættir), pseudo-historical narratives that treat the lives and feuds of prominent Icelanders and Icelandic families during the ninth, tenth, and eleventh centuries, were newly translated into English in The Complete Sagas of Icelanders, Including 49 Tales (ed. Viðar Hreinsson, Leifur Eiríksson Publishers, 1997). The five volumes in this work effectively replaced the antiquated translations from earlier centuries with highly readable texts that capture the characteristic prose of these important narratives. These translations have made the sagas accessible to a broader audience and have played a critical role within both medieval scholarship and scholarship on hagiography, as well as in the English-speaking classrooms where these works are taught.Other saga genres have not received the same comprehensive treatment in terms of translation to English; these include both the heilagra manna sögur (sagas of saints), Old Norse-Icelandic translations of Latin and German saints’ legends, and the biskupa sögur (bishops’ sagas), the natively produced hagiographies that treat the lives of Iceland's holy bishops. Some important English translations have appeared in recent years, making these works available to non-specialists and students alike; these are helpfully listed in the individual entries for various saints in Kirsten Wolf's The Legends of the Saints in Old Norse-Icelandic Prose (University of Toronto Press, 2013). However, as Wolf's bibliography also shows, many works belonging to the genres of biskupa sögur and heilagra manna sögur remain untranslated to English, or at least have not been translated in recent decades. This makes the work under review a welcome contribution to the growing number of translations of bishops’ and saints’ sagas.A draft of The Saga of St. Jón of Hólar was originally completed in 2000, but Cormack thought it advisable to delay publication of the translation until the publication of Peter Foote's (d. 2009) two editions of Jóns saga Hólabiskups, both of which appeared in 2003. The first was a diplomatic edition and study as part of the Editiones Arnamagnæana series, and the second was a normalized edition in the Íslenzk fornrit series. While the former work was published in English and provided a detailed discussion of the manuscripts and redactions of the saga, the latter work was published in Icelandic, and examined more closely the saga itself, and in particular, its manuscripts, sources, style, and connections to other literary works. Foote originally wrote the latter introduction in English, but the text was never finalized due to his poor health. Cormack was therefore given permission by Foote, the editors of the Íslenzk fornrit edition, and Hið íslenska bókmenntafélag to publish the English version of the text, which comprises Part II of the present work. Cormack points out that Foote's introduction, while “essential to scholars of language ","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Corrected and Improved: The Motivation behind the Printing of the Norwegian Lawbook of 1604","authors":"Helen F. Leslie-Jacobsen","doi":"10.5406/21638195.95.3.01","DOIUrl":"https://doi.org/10.5406/21638195.95.3.01","url":null,"abstract":"This article aims to contribute toward book history in Early Modern Norway by considering the circumstances of how and why the Norwegian national law was revised and brought to print for the first time in 1604 in Copenhagen, titled Den Norske Low-Bog, offuerseet, corrigerit oc forbedrit Anno M.DC.IIII (1604; The Norwegian Law-Book, Looked Through, Corrected and Revised The Year 1604).1 This was the first time Norwegian law had been printed, and indeed the printing of the law took place 40 years before the printing press came to Norway itself. Prior to it being revised and printed, copies of the law circulated in manuscript form, both in the Old Norwegian language the law was originally written in and later in Danish translations. As could be expected with a text in manuscript circulation, this meant there were many slightly different, although broadly similar, versions of the law.2 Despite many orders from Denmark throughout the sixteenth century, no final copy of a state-sponsored, Danish lawbook was published before 1604. This article considers the open letters and orders sent to Norway in the latter half of the sixteenth century and the early seventeenth century from the Danish Royal Court and reflects on the various motivations behind the preparation and printing of the law in Copenhagen, using the orders from Denmark as the primary source of evidence.3 The law printed in Copenhagen in 1604 was a translated and somewhat revised version of the Landslǫg, a national law code valid for the whole country, which was introduced in Norway in 1274 in the reign of King Magnus Håkonsson Lagabøte (whose byname means “law-mender”).4For much of the period in which the Landslǫg was in force in Norway, the country was in a union with Denmark, and it is for this reason that the Danish court and the Danish language were able to exert influence over the form of the Landslǫg.5 When the Landslǫg was introduced in the thirteenth century, Norway was an independent kingdom, and the language of the law code was Old Norwegian. The introduction of a national law code was an important stage in the process of Norwegian state formation and the consolidation of the power of the monarchy in the thirteenth century.6 However, in 1380, the Danish King Olaf II Håkonsson inherited the Kingdom of Norway as Olav IV Håkonsson. After his death, Norway was ruled by his mother, Margrete I, from 1387 to 1412. In 1397, Sweden, Denmark, and Norway formed the Kalmar Union, which was dissolved in 1523 when Sweden withdrew. Denmark-Norway remained together, with the administrative center of power located in Copenhagen. Even though the idea was that each state should be governed according to its own laws, and the law in Norway should not therefore have undergone any great changes, Danish men were gradually introduced into the most important posts in the country's administration (Bagge and Mykland 1987, 66, 74, 77; Falkanger 2007, 134). From 1536/1537, Denmark and Norway were in a personal un","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nordic Design Cultures in Transformation, 1960–1980: Revolt and Resilience","authors":"Mark Ian Jones","doi":"10.5406/21638195.95.3.06","DOIUrl":"https://doi.org/10.5406/21638195.95.3.06","url":null,"abstract":"Since the turn of the millennium, design historians have sought to move beyond the myths and stereotypes of 1950s “Scandinavian Design” and reveal what took place in the decades that followed. Scandinavian Design beyond the Myth (Halén and Wickman 2003) kicked off a re-evaluation in 2003, and subsequent scholarship has taken a more critical position on the hegemony of Scandinavian “good taste” and uncovered little-known and alternative histories. This scholarship includes those marginalized designers who simply didn't fit the overarching narrative constructed by the Nordic design associations. Norwegian design historian Kjetil Fallan's previous anthology, Scandinavian Design: Alternative Histories (Fallan 2012) revealed lesser-known design histories, and in Nordic Design Cultures in Transformation, 1960–1980, he is joined by co-editors Christina Zetterlund from Sweden and Anders Munch from Denmark for this excellent and timely anthology. Together, they have brought together an impressive group of scholars from Denmark, Finland, Iceland, Norway, Sweden, and the United Kingdom, covering a wide range of previously uncharted design histories with contemporary relevance.Nordic design is better-known to most of the world as “Scandinavian Design,” a stylistic category of objects primarily for the home that was successfully created through discourse in the 1950s. Its associated myths have obscured developments in the Nordic region ever since. Perhaps this is, as the editors state in their introduction, largely due to an emphasis on mid-century exhibitions, objects, and individuals that permeates most discourse. Indeed, a revolution had begun in the late 1950s. In 1958, the American journal Crafts Horizons first proclaimed this revolution, stemming from the dissatisfaction of young designers with the limited boundaries of “Scandinavian Design” (Brown 1958). There have been previous studies, referenced by the authors in their introduction, that speak to the aims of this volume; however, they have largely been published in Nordic languages. Therefore, it is heartening to see increased attention to the revolutionary period that followed in the 1960s and 1970s, particularly as an Open Source work in English. Globally, these decades represent a period of transformation in design with the rise of environmentalism and various rights movements, yet how this played out in the Nordic countries has remained unexplained until now. Nordic Design Cultures in Transformation asks the overarching question of “How do we move beyond the traditional narrative of ‘Scandinavian Design’”? The authors do so through the lens of discourses, institutions, and practices in its aftermath, where they claim that “the roots of the most prominent features of Nordic design's contemporary significance” (p. 1) are to be found. For the casual reader, that there was an aftermath is a revelation, and given the recent popular interest in Scandi-this and Hygge-that, this volume provides an illum","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A History of Danish Cinema","authors":"Björn Nordfjörd","doi":"10.5406/21638195.95.2.07","DOIUrl":"https://doi.org/10.5406/21638195.95.2.07","url":null,"abstract":"Without a doubt, Danish cinema has been one of the hot spots of twenty-first-century world cinema. Turning the success of Dogme 95 into a springboard, so many Danish filmmakers have experienced remarkable international success—and an unparalleled one, considering the small size of the country. The success of Danish cinema is evident at the domestic box office, the international film festival circuit, and even Hollywood. And by Hollywood, I don't mean only the Academy Awards, where Danish films have received seven nominations for best foreign film this century and won twice, but also in the making of English-language films competing in the Hollywood market. This newfound interest has been given some historical weight with the continued interest in celebrated auteur Carl Theodor Dreyer.Not surprisingly, this success has been accompanied by plenty of academic interest and some solid scholarly publications. In English, we have seen numerous books on the Dogme phenomenon and even monographs on specific Dogme films. Many auteur studies have seen the light of day with scholarship on Lars von Trier constituting a field all its own. Other scholars have taken a broader view but still confined their reach to New Danish Cinema. Television has not been left out of the equation, and much work has been done on the comparable global success of Danish television. But what we have not had until now is a work that presents itself as A History of Danish Cinema overall.As the editors C. Claire Thomson, Isak Thorsen, and Pei-Sze Chow freely admit in their introduction, such an enterprise is fraught with challenges and difficult decisions. Do you aim for a broad overview or close analyses of specific issues? Do you summarize previous research or privilege new findings? Do you focus on the films themselves or their institutional context? Instead of favoring a single approach, the editors have tried to find a balance between multiple, and not necessarily always reciprocal, goals. Indeed, despite the book's title emphasizing a single history (albeit with an indefinite rather than a definite article), the editors refer to its many chapters as so many histories in the plural. And as with any other important decision, something is won but also lost by this particular approach: “The richness of perspective that is gained from an anthology of critical voices also sacrifices the cohesiveness of a monograph” (p. 6). While there is truth in their forthrightness here—readers should not expect a straightforward overview of Danish cinema from the volume—the editors have nonetheless aimed for a certain cohesiveness. For starters, the entries are arranged in a chronological order, or as much as possible, as their time span can vary quite a bit, and are furthermore split into four different parts defined by historical time period. The editors and authors have also provided a plethora of cross-references to assist readers in linking different chapters together.Most importantly, they hav","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135154869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reykjaholt Revisited: Representing Snorri in Sturla Þórðarson's Íslendinga saga","authors":"Kirsten Wolf","doi":"10.5406/21638195.95.2.08","DOIUrl":"https://doi.org/10.5406/21638195.95.2.08","url":null,"abstract":"","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42755282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Human Rights and Oppressed Peoples: Collected Essays and Speeches","authors":"Marianne Stecher-Hansen","doi":"10.5406/21638195.95.2.09","DOIUrl":"https://doi.org/10.5406/21638195.95.2.09","url":null,"abstract":"","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45897552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}