“To Establish a Free and Open Forum”: a Memoir of the Founding of the Grundtvig Society
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A Danish Museum Art Library: the Danish Museum of Decorative Art Library*
INSPEL 33(1999)4, pp. 229-235 A DANISH MUSEUM ART LIBRARY: THE DANISH MUSEUM OF DECORATIVE ART LIBRARY* By Anja Lollesgaard Denmark’s library system Most libraries in Denmark are public, or provide public access. The two main categories are the public, local municipal libraries, and the public governmental research libraries. Besides these, there is a group of special and private libraries. The public municipal libraries are financed by the municipal government. The research libraries are financed by their parent institution; in the case of the art libraries, that is, ultimately, the Ministry of Culture. Most libraries are part of the Danish library system, that is the official library network of municipal and governmental libraries, and they profit from and contribute to the library system as a whole. The Danish library system is founded on an extensive use of inter-library lending, deriving from the democratic principle that any citizen anywhere in the country can borrow any particular book through the local public library, free of charge, never mind where, or in which library the book is held. Some research libraries, the national main subject libraries, are obliged to cover a certain subject by acquiring the most important scholarly publications, for the benefit not only of its own users but also for the entire Danish library system. Danish art libraries Art libraries in Denmark mostly fall into one of two categories: art departments in public libraries, and research libraries attached to colleges, universities, and museums. Danish art museum libraries In general art museum libraries are research libraries. Primarily they serve the curatorial staff in their scholarly work of documenting artefacts and art historical * Paper presented at the Art Library Conference Moscow –St. -
Britain's Hype for British Hygge
Scandinavica Vol 57 No 2 2018 What the Hygge? Britain’s Hype for British Hygge Ellen Kythor UCL Abstract Since late 2016, some middle-class Brits have been wearing Nordic- patterned leg warmers and Hygge-branded headbands while practising yoga in candlelight and sipping ‘Hoogly’ tea. Publishers in London isolated hygge as an appealing topic for a glut of non-fiction books published in time for Christmas 2016. This article elucidates the origins of this British enthusiasm for consuming a particular aspect of ostensibly Danish culture. It is argued that British hype for hygge is an extension of the early twenty-first century’s Nordic Noir publishing and marketing craze, but additionally that the concept captured the imaginations of journalists, businesses, and consumers as a fitting label for activities and products of which a particular section of the culturally white-British middle-classes were already partaking. Keywords Hygge, United Kingdom, white culture, Nordic Noir, publishing, cultural studies 68 Scandinavica Vol 57 No 2 2018 A December 2015 print advertisement in The Guardian for Arrow Films’ The Bridge DVDs reads: ‘Gettin’ Hygge With It!’, undoubtedly a play on the phrase from 1990s pop music hit ‘Gettin’ Jiggy Wit It’ (HMV ad 2015). Arrow Films’ Marketing Director Jon Sadler perceived the marketing enthusiasm for hygge¹ that hit Britain a year later with slight envy: ‘we’ve been talking about hygge for several years, it’s not a new thing for us [...] it’s a surprise it’s so big all of a sudden’ (Sadler 2017). Arrow Films was a year too early in its attempt to use hygge as a marketing trope. -
Constructing Danish Identity Transcultural Adaptation in Peter
Coversheet This is the accepted manuscript (post-print version) of the article. Contentwise, the post-print version is identical to the final published version, but there may be differences in typography and layout. How to cite this publication Please cite the final published version: Stephan, M. (2016). Constructing Danish Identity: Transcultural Adaptation in Peter Høeg’s The History of Danish Dreams. Scandinavian Studies 88(2), 182-202. University of Illinois Press. Publication metadata Title: Constructing Danish Identity: Transcultural Adaptation in Peter Høeg’s The History of Danish Dreams Author(s): Matthias Stephan Journal: Scandinavian Studies DOI/Link: https://muse.jhu.edu/article/634084/summary Document version: Accepted manuscript [post-print] Accepted date: Jan 22, 2016 General Rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. This coversheet template is made available by AU Library Version 1.0, October 2016 Constructing Danish Identity: Transcultural Adaptation in Peter Høeg’s The History of Danish Dreams Matthias Stephan Århus University his paper discusses the Danish novel Forestilling om det tyvende århundrede, published in 1988, or perhaps more accurately, the T1995 American translation of the novel, The History of Danish Dreams. -
Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross
religions Article Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross Amanda Doviak Department of History of Art, University of York, York YO10 5DD, UK; [email protected] Abstract: The carved figural program of the tenth-century Gosforth Cross (Cumbria) has long been considered to depict Norse mythological episodes, leaving the potential Christian iconographic import of its Crucifixion carving underexplored. The scheme is analyzed here using earlier ex- egetical texts and sculptural precedents to explain the function of the frame surrounding Christ, by demonstrating how icons were viewed and understood in Anglo-Saxon England. The frame, signifying the iconic nature of the Crucifixion image, was intended to elicit the viewer’s compunction, contemplation and, subsequently, prayer, by facilitating a collapse of time and space that assim- ilates the historical event of the Crucifixion, the viewer’s present and the Parousia. Further, the arrangement of the Gosforth Crucifixion invokes theological concerns associated with the veneration of the cross, which were expressed in contemporary liturgical ceremonies and remained relevant within the tenth-century Anglo-Scandinavian context of the monument. In turn, understanding of the concerns underpinning this image enable potential Christian symbolic significances to be suggested for the remainder of the carvings on the cross-shaft, demonstrating that the iconographic program was selected with the intention of communicating, through multivalent frames of reference, the significance of Christ’s Crucifixion as the catalyst for the Second Coming. Keywords: sculpture; art history; archaeology; early medieval; Anglo-Scandinavian; Vikings; iconog- raphy Citation: Doviak, Amanda. 2021. Doorway to Devotion: Recovering the Christian Nature of the Gosforth Cross. -
New Nordic Cuisine Best Restaurant in the World Bocuse D'or
English // A culinary revolution highlighting local foods and combating uniform- ity has been enhancing the Taste of Denmark over the past decade. The perspec- tives of this trend are useful to everyone – in private households and catering kitchens alike. Nordic chefs use delicious tastes and environmental sustainability to combat unwholesome foods and obesity. www.denmarkspecial.dk At the same time, Danish designers continue to produce and develop furniture, tables and utensils which make any meal a holistic experience. Learn more about New Nordic Cuisine and be inspired by the ingredients, produce, restaurants and quality design for your dining experience. FOOD & DESIGN is a visual appetiser for what’s cooking in Denmark right now. Français // Une révolution culinaire axée sur les ingrédients locaux et opposée à une uniformisation a, ces 10 dernières années, remis au goût du jour les saveurs du Danemark. Cette évolution ouvre des perspectives à la disposition de tous – qu’il s’agisse de la cuisine privée ou de la cuisine à plus grande échelle. Les chefs nordiques mettent en avant les saveurs et l’environnement contre la mauvaise santé et le surpoids. Parallèlement, les designers danois ont maintenu et développé des meubles, tables et ustensiles qui font du repas une expérience d’ensemble agréable. Découvrez la nouvelle cuisine nordique et puisez l’inspiration pour vos repas dans les matières premières, les restaurants et le bon design. FOOD & DESIGN est une mise en bouche visuelle de ce qui se passe actuellement côté cuisine au Danemark. Food & Design is co-financed by: Ministry of Foreign Affairs of Denmark, The Trade Council What’s cooking in Denmark? New Nordic Cuisine Bocuse d’Or Playing among the stars Issue #9 2011 denmark Printed in Denmark EUR 10.00 // USD 13.00 Best restaurant special NZD 17.50 // AUD 13.50 ISBN No. -
SCANDINAVIAN LANGUAGES and LITERATURES Sara De Kundo 10 and Tom Kilton; July 1984
S 1-1 SCANDINAVIAN LANGUAGES AND LITERATURES Sara de Kundo 10 and Tom Kilton; July 1984 I. DESCRIPTION A. Purpose: To support the instructional and research programs of the Department of Germanic Languages and Literatures involving the literature and language studies of Old Norse/Icelandic, runes, and the historical and current literatures and languages of Iceland, Denmark, Norway, Sweden, and the Faeroe Islands. B. Hist0tY of Collection: In the early 20th century, Scandinavian studies were taught in the English Department. The collections were built up significantly by prominent professors, notably Henning Larsen and George Flom. The George Flom Library of over 2,000 valuable items was donated in 1941, and the Henning Larsen collection was purchased in 1971. Since 1959 Scandinavian language, literature and cultural studies have been offered regularly through the Department of Germanic Languages and Literatures. C. Estimate of Holdinis: 23,475 volumes. D. State. Reiional. and National Importance: The Scandinavian collections at Illinois are considered by most scholars to be outstanding and to rank among the top ten North American libraries with collections in these areas. E. Unit Responsible for Collectini: Modern Languages and Linguistics Library. F. Location of Materials: Reference works and a small core collection are held in Modern Languages and Linguistics Library. The majority of materials are in the Bookstacks , but many are in the Reference Room, the Rare Book and Special Collections Library, and the Undergraduate Library. G. Citations of Works Describini the Collection: Downs, pp. 113, 206. Major, p. 59. II. GENERAL COLLECTION GUIDELINES A. Lan&Ua&es: Primarily Old Norse/Icelandic, Danish, Norwegian, Swedish, and English, with selective acquisition of translations of primary source mate~ials as well as secondary criticism in other Western European languages. -
Danmarks Kunstbibliotek the Danish National Art Library
Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk D 53.683 The Ehrich Galleries GDlö ilaøtrrø” (Exclusively) Danmarks Kunstbibliotek Examples French SpanS^^ Flemish Dutch PAINTINGS 463 and 465 Fifth Avenue At Fortieth Street N E W YO R K C IT Y Special Attention Given to the Expertising, Restoration and Framing o f “ (®li fHastrrii” EXHIBITION of CONTEMPORARY SCANDINAVIAN ART Held under the auspices of the AMERICAN-SCANDINAVIAN SOCIETY Introduction and Biographical Notes By CHRISTIAN BRINTON With the collaboration of Director KARL MADSEN Director JENS THUS, and CARL G. LAURIN The American Art Galleries New York December tenth to twenty-fifth inclusive 1912 SCANDINAVIAN ART EXHIBITION Under the Gracious Patronage of HIS MAJESTY GUSTAV V King of Sweden HIS MAJESTY CHRISTIAN X Copyright, 1912 King of Denmark By Christian Brinton [ First Impression HIS MAJESTY HAAKON VII 6,000 Copies King of Norway Held by the American-Scandinavian Society t 1912-1913 in NEW YORK, BUFFALO, TOLEDO, CHICAGO, AND BOSTON Redfield Brothers, Inc. New York INTRODUCTORY NOTE h e A m e r i c a n -Scandinavian So c ie t y was estab T lished primarily to cultivate closer relations be tween the people of the United States of America and the leading Scandinavian countries, to strengthen the bonds between Scandinavian Americans, and to advance the know ledge of Scandinavian culture among the American pub lic, particularly among the descendants of Scandinavians. -
Danish Law, Part II
University of Miami Law Review Volume 5 Number 2 Article 3 2-1-1951 Danish Law, Part II Lester B. Orfield Follow this and additional works at: https://repository.law.miami.edu/umlr Recommended Citation Lester B. Orfield, Danish Law, Part II, 5 U. Miami L. Rev. 197 (1951) Available at: https://repository.law.miami.edu/umlr/vol5/iss2/3 This Article is brought to you for free and open access by the Journals at University of Miami School of Law Institutional Repository. It has been accepted for inclusion in University of Miami Law Review by an authorized editor of University of Miami School of Law Institutional Repository. For more information, please contact [email protected]. DANISH LAW DANISH LAW LESTER B. ORFIELD PART II* LOCAL GOVERNMENT In 1841 local government was reformed by introducing parish councils to which the peasants elected some representatives. 233 In turn the parish councils elected members of the county councils. The pastors were no longer to be chairmen of the parish councils, but continued to be members ex officio. The right to vote was extended to owners of but 1.4 acres. The councils were created to deal with school matters and poor relief; but road maintenance, public health, business and industrial licenses, and liquor licenses were also within their province. The right to vote in local elections was long narrowly restricted. Under legislation of 1837 the six largest cities other than Copenhagen chose coun- cilmen on a property basis permitting only seven per cent of the population to vote. Early in the nineteenth century rural communities began to vote for poor law and school officials. -
Danish Sixties Avant-Garde and American Minimal Art Max Ipsen
Danish Sixties Avant-Garde and American Minimal Art Max Ipsen “Act so that there is no use in a centre”.1 Gertrude Stein Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early. Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 1960s, and I will examine whether one can claim that Danish artists were influenced by American minimal art. Empirical minimal art The last question first. Were Danish artists and writers influenced by American minimal art? The straight answer is no. The fact is that they did not know about American minimal art when they first made works, which we today can characterize as minimal art or minimalism. Minimalism was just starting to occur in America when minimalist works of art were made in Denmark. Some Danish artists, all of them linked up with Den eksperimenterende Kunstskole (The Experimenting School of Art), or Eks-skolen as the school is most often called, in Copenhagen, were employing minimalist techniques, and they were producing what one would tend to call minimalist works of art without knowing of international minimalism. One of these artists, Peter Louis-Jensen, years later, in 1986, in an interview explained: [Minimalism] came to me empirically, by experience, whereas I think that it came by cognition to the Americans. -
Kalmar Konstmuseum Bita Razavi Same Song, New Songline 2016 Photo by Jaakko Karhunen
SONGLINES FOR A NEW ATLAS June 18 – September 18, 2016 Kalmar konstmuseum Bita Razavi Same Song, New Songline 2016 Photo by Jaakko Karhunen Nadia Kaabi-Linke Meira Ahmemulic Bani Abidi Bita Razavi Karel Koplimets Malene Mathiasson Dzamil Kamanger/Kalle Hamm Linda Persson Curator Torun Ekstrand “I speak to maps. And sometimes they say something back to me. This is not as strange as it sounds, nor is it an unheard of thing. Before maps the world was limitless. It was maps that gave it shape and made it seem like territory, like something that could be posses- sed, not just laid waste and plundered. Maps made places on the edges of the imagination seem graspable and placable.” Abdulrazak Gurnah, By the Sea This summer’s group exhibition at Kalmar konstmuseum takes its point of departure in demarcation lines and in the maps, networks, contexts and identities that can arise in a society in times of migration and refugee ship. Artists have challenged ideas about identity and belonging in all times and can give us new perspectives on questions of place and mobility. “When the Berlin Wall came down in 1989 there were 16 large border barriers between territories world- wide. Today there are 65 of them, either already existing or under construction.” This can be read in an article from the TT News Agency, from the end of last year. Meanwhile, there are almost 60 million refugees in the world. Many historical maps are artworks in themselves. Some maps have changed how we look upon the world. Other maps have been used in warfare, or as tools in the hands of colonial powers. -
Danish Culture
DANISH CULTURE DANISH CULTURE IS RELAXED AND COLLECTIVE VALUES ARE BUILT ON TRUST, SECURITY AND COOPERATION. VIEWS ON RELIGION AND POLITICS ARE RATHER LIBERAL, AND HUMOUR IS DEEPLY ROOTED IN DANES. THE SUPPORTIVE DANISH WELFARE STATE GRANTS EQUAL OPPORTUNITIES FOR ALL, THUS PROVIDING A STRONG FEELING OF SECURITY AND BELONGING. WHAT ARE DANES LIKE? central part of Danish culture. Comedians unteer work or simply donate money for Generally, Danes have very liberal views make fun of famous people, and even the charities. Moreover, Danes are increasing- on sex, religion and politics compared royal family, to their audience’s amuse- ly concerned about global issues, so they to most Europeans. However, they are ment. Irony is an important part of Danish buy fair trade and environmentally friend- also rule-bound and complying with the humour and conversation, which may take ly products and recycle more than the Eu- norms is important and appreciated. some time getting used to for interna- ropean average. Wealth in Denmark is equally distribut- tionals. Danes may not initiate small talk ed, so there are relatively few billionaires with strangers themselves, but Danes are THE “HYGGE” CONCEPT or really poor people. Attitudes towards polite and will engage in conversation if When foreigners are asked to describe success and money are humble, and con- they are spoken to. Danish culture, a special concept comes sequently bragging is unusual and socially to mind: “hygge”. Linked to cosiness and unacceptable. Most Danes are outspoken SOCIAL AND CULTURAL VALUES warmth, “hygge” is normally associated and direct; they are used to having open Altruism is a core value in Denmark. -
The Reception of Danish Science Fiction in the United States Kristine J
Purdue University Purdue e-Pubs Libraries Research Publications 6-13-2006 The Reception of Danish Science Fiction in the United States Kristine J. Anderson Purdue University, [email protected] Follow this and additional works at: http://docs.lib.purdue.edu/lib_research Anderson, Kristine J., "The Reception of Danish Science Fiction in the United States" (2006). Libraries Research Publications. Paper 71. http://docs.lib.purdue.edu/lib_research/71 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. The Reception of Danish Science Fiction in the United States by Kristine J. Anderson Science fiction is a distinctly American genre. Although scholars have traced its origins back as far as the Latin writer Lucian of Samosata, 1 it was Hugo Gernsback, a publisher of pulp magazines in the United States, who first gave the genre its name in the June 1929 issue of Wonder Stories . Gernsback had been serializing the scientific romances of such writers as Jules Verne and H.G. Wells, emphasizing their treatment of technology and putting them forth as models for other budding writers to imitate. The magazines that Gernsback initiated became very popular, spawning more from other publishers. Groups of aficionados sprang up around them, provided with a forum by Ge rnsback’s letters columns, where they happily exchanged opinions and found addresses with which to contact one another outside the magazine. In this way Gernsback also gave birth to science fiction fandom, which then went on to produce successful authors from its own ranks to write for all the science fiction magazines then pouring off the presses.