Danish Literature Research Articles

Proximal ulna stress fracture and stress reaction of the proximal radius associated with the use of crutches: a case report and literature review

We report a case of complete stress fracture of the ulna and stress reaction of the radius resulting from the use of crutches in an overweight patient with severe lower extremity arthritis. Plain radiograph showed an undisplaced complete fracture of the proximal metaphysis of the ulna. Magnetic resonance imaging (MRI) was performed to exclude a pathological cause in view of the unusual fracture site, which confirmed the plain radiographic findings and additionally demonstrated a stress reaction in the proximal radius. There are three cases of stress fracture of the ulnar diaphysis resulting from the use of crutches reported previously in the English literature and a further case of bilaterally symmetrical ulnar diaphysial fracture reported in the Danish literature. We report the first case of ulnar metaphysis stress fracture with concomitant stress reaction of the radius.

Et manifest på dansk må omhandle modersmålet og angribe fædrelandet: Litteraturhistoriske forstudier om kunst og sprog

A Manifesto in Danish has to deal with the Mother tongue and attack the Fatherland: Some preliminary studies about art and language presented from the point of view of the history of literature:The study follows five lines of reasoning: The first deals with the impossibility of formulating a manifesto in general; the impossibility of advocating the use of violence and on the other hand the impossibility of using dialogue. So the system of prescriptions and promises normally used in a manifesto no longer have sense.The next line of reasoning concerns the impossibility of presenting fictional preoccupations in the mass media and explaining why literature in Danish has to deal with its contents and form outside the current commentary and celebration hosted by the mass media. In this second line the Vico legacy is introduced to explain a conflict in Danish literature concerning its lack of an epic centre of historical and aesthetical understanding. Benjamin’s defence of the epicity in the work of Brecht is similarly discussed in this second part of the study. The third line of reasoning is presenting some older investigations on Danish prose into this question of what an epic dimension in the residual Danish culture might have been about in the last century. But all the investigations presented failed to get to the point. The point of dissidence was too weak and the point of national-socialism too clever to be manifest: It could easily hide behind the general cover up of theological aesthetics dominating Lutheran Denmark.So the fourth line of reasoning deals with political theology as a sort of interiorised state of mind in Denmark.The fifth line of reasoning presents two examples of something radically different and rather excluded in the political culture of Denmark: The Danish Council of Freedom (Danmarks Frihedsråd) during WWII which failed when it came to attacking the collaboration between Danish democracy and the Third Reich; and the Danish School of Writing (Forfatterskolen) which has been attacked by the local establishment since it was born 25 years ago.

More Than Meets the Eye: Hans Christian Andersen and Nineteenth-Century American Criticism (review)

Reviewed by: More Than Meets the Eye: Hans Christian Andersen and Nineteenth-Century American Criticism Christoph Irmscher More Than Meets the Eye: Hans Christian Andersen and Nineteenth-Century American Criticism. By Herbert Rowland. Madison, N.J.: Fairleigh Dickinson Univ. Press, 2006. 280 pp. Cloth, $52.50. Among the Longfellow papers at Harvard's Houghton Library, there is a letter by Hans Christian Andersen to his "kjaere, beundrede Ven," his dear admired friend. "Were not the big ocean between us," Andersen wrote on 24 March 1868 in his native language, which he knew Longfellow spoke and read with ease, "then I would come to you." A few years later, he repeated the same wishful fantasy, this time in halting English, imagining how, were it not for the long voyage, he would soon "arrive in your mighty country some pleasant summerday" [sic]. Andersen never came, but, as Herbert Rowland's compelling study of nineteenth-century American reviews of Andersen's work suggests, he had, in more intangible ways, long been present in Longfellow's "mighty country." American readers loved Andersen, if not for the right reasons. Longfellow began reading him in 1847, the year the first volley of Andersen reviews appeared in American periodicals such as the Literary World and Godey's Lady's Book. His favorite Andersen story was "The Constant Tin Soldier," though he thoroughly disliked Mary Howitt's "slipshod" translation, an opinion not shared, as Rowland shows, by most American reviewers. (As late as 1872, Whitelaw Reid praised Howitt in the New York Tribune for having retained "the charm of the author's style.") Since the Danish texts were not easily available to him, Longfellow willy-nilly also read Andersen's autobiography in Howitt's distorted version: "Andersen's 'Story of My Life,'" he wrote, "has inspired me again for Danish literature." If Rowland is right—and his book is so carefully researched and meticulously documented that one would be foolish to doubt the results—Longfellow's Andersen fascination was both predictable and unusual for his time. Andersen's fairy tales were widely admired, but Longfellow did not regard him as primarily a writer of "graceful juveniles," as the Southern Literary Messenger put it. In fact, Longfellow first encountered Andersen when his brilliant wife Fanny read the Wonder Stories to him as part of their regular evening entertainments, which also included at various points in time Cervantes's Don Quijote, Melville's Typee, and Heine's poems. Longfellow [End Page 180] also did not limit his reading to the fairy tales or the autobiography; during the following years, he acquired not only Andersen's popular "Italian" novel The Improvisatore but also the far less familiar To Be or Not to Be?, an 1857 novel Andersen had dedicated to Charles Dickens. Last but not least, Longfellow never attempted, as so many American reviewers did, "to turn Andersen's work to [his] own ideological purposes." Instead, he was interested in what Andersen had to tell him about Denmark and Danish literature, not in the light he might shed on American culture. As Rowland shows in an impressive chapter on "general interest articles," American reviewers from Bayard Taylor to Hjalmar Hjorth Boyesen celebrated Andersen's biography as a kind of American-style rags-to-riches story, the capitalist version of a fairy tale in which the son of a poor cobbler and an illiterate, superstitious washerwoman "by dint of genius had risen from the lowest origin to a world-wide fame." More Than Meets the Eye includes an unforgettable profile view of Andersen's face, which, serene in its ugliness, still retains the features of the boy from rural Odense—"the only kangaroo among the beauty," as Emily Dickinson, who has more in common with Andersen than might be readily apparent, once said about herself. And it was those features that haunted the American reviewers, especially the ones who traveled to Denmark and met the man in the flesh. Throughout More Than Meets the Eye, Rowland has a hard time hiding his disappointment that Americans did not show more maturity in their critical dealings with Andersen's œuvre. He is not even sure that everyone who offered an opinion on him had...

Digital reading groups: renewing the librarian image

PurposeThe purpose of this article is to discuss the stereotype of the librarian and to point to the fact that changing the public view of the librarian requires more than just talking about it. Librarians themselves need to take action. A way to change the image of the librarian could be a new form for reading groups: digital reading groups initiated by libraries.Design/methodology/approachThis article presents a Danish project concerning digital reading groups and the experiences made so far by the involved groups e.g. librarians and readers. The article introduces a historical view on the stereotyped librarian and uses a case study to illustrate the situation today.FindingsThe historical conditions that constitute the Danish librarian stereotype show a discrepancy between the role and function of the modern librarian and the way the librarian is seen in a wider public. The applied case study, concerning digital reading groups, shows that digital reading groups work both as a way for the librarian to communicate with the reader in a more dialogical fashion, as a way for the public library to test new promotion tools which point in direction of Web 2.0 and as a more flexible promotion offer to the busy reader. Consequently, the digital reading groups offer a model that can bridge the gap between the librarian stereotype, the librarian and the library user.Originality/valueThis article is based on experiences made in connection with a Danish literature promotion project where digital reading groups are launched for the first time. It shows how public libraries can use literature promotion on the internet, not only to reach new users, but also to change the librarian stereotype and upgrade the librarians in direction of Librarian 2.0.

Between Art and Pedagogy: The History of Danish Children's Literature

It's the same story everywhere: children's books as we know them developed from books with didactic intentions, and our thinking about children's books still bears traces of that didactic history. Torben Weinreich, whose book on the history of Danish children's literature won the IRSCL award, gives a fascinating overview of Danish children's literature from stern beginnings to a flourishing situation today

Canonisations de l'intimité protestante. Le Journal d'un sacristain de campagne de Steen Steensen Blicher

Blicher’s Diary of a Parish Clerk (1824) is one of the first works of realist fiction in Danish literature. Through a consideration of the story’s origin at the intersection of “popular” and “serious” writing, I propose a reading of Blicher’s relation to the classical Latin canon. Toward the end of my essay I consider how modern canons consist mainly of works critical of the very idea of a common cultural norm.

Danish Sixties Avant-Garde and American Minimal Art

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.

The Artists of 1805: The Theatrical Collaboration of Andersen, Bournonville, and Hartmann

There is a Danish saying that, having said A, you must continue on to B and C and so forth. In the year 2005 the saying would more likely go, Having said 'A,' you must also say 'B'?and 'H.' Cer tainly the great artists generation of 1805?Hans Christian Ander sen, August Bournonville, and Johan Peter Emilius Hartmann? represents the three leading artists of nineteenth-century Danish literature, choreography, music, and theatre culture, thanks to their individual artistic personalities and joint theatrical productions. Among themselves they often exchanged brief but meaning ful comments. An example of this can found in a letter written by Andersen to Bournonville on March 30, 1841, in which the poet praises the balletmaster with these telling words: You are a poet and I put much store in this little word. For his part, Bournonville wrote to Andersen on January 31, 1862, 'You interest, amuse, and touch. Yes, you convince and strengthen, more one cannot desire from a poet. In a poem dedicated to Hartmann, Andersen wrote on May 14, 1836, We endorse you and your music after our hearts!

“Særlig dansk” - Dansk litteraturs kanon i et minoritetsperspektiv

The Danish Literary Canon (Dansk litteraturs kanon) implicitly addresses pupils of non-Danish origin. The purpose of the canon is to suggest pedagogical tools in the teachings of specific texts that are viewed as central to the Danish and European literary tradition. The consequences of this project are not only that pupils of non-Danish origin become situated as ‘others’ in relation to the idea of ‘danishness’, but that this implicit constitution of ‘same’ and ‘difference’ naturalises Dansih national identity. From a minority studies point of view the pedagogical purpose should be to ask: How to teach Danish literature and with what purpose, and thus, not take what Danish literature is for granted.

Translation and adaptation

This article discusses the distinction between translation and adaptation, since “there is a point at which adaptation ceases to be translation at all” (Bastin 1998: 6). The distinction will be illustrated by three examples of Danish versions of the Grimm brothers’ well‐known folktale “Little Red Riding Hood” in their separate movements from German folklore to Danish children's literature. After an analytical comparison of two German editions of the tale by the brothers Grimm (from 1812 and 1857, respectively), the article discusses the relationship between the two German and three Danish translations or adaptations (1983, 1995 and 2000) as well as the Danish target audience. The importance of illustrations, both black and white, and in colour, is an important issue as well.

Recent Danish Literature on the Upbuilding Discourses 1843 and 1844 and Three Discourses on Imagined Occasions

Article Recent Danish Literature on the Upbuilding Discourses 1843 and 1844 and Three Discourses on Imagined Occasions was published on December 31, 2000 in the journal Kierkegaard Studies Yearbook (volume 2000, issue 2000).

The Gay and lesbian literary heritage: a reader's companion to the writers and their works, from antiquity to the present

African-American Literature AIDS Literature June Arnold Autobiography Christopher Bram Rupert Brooke, Comedy of Manners Michael Cunningham Danish Literature Melvin Dixon Emma Donoghue Dramatic Literature Finnish Literature Jewell Gomez Jim Grimsley Hafiz E. Lynn Harris Hanif Kureishi Tony Kushner Selma Lagerlof Anne Lister Terrence McNally Kate Millett, Gabriela Mistral Jan Morris Norwegian Literature Kate O'Brien Philippine Literature Rumi Sa'di George Sand Swedish Literature Sarah Walters Jacqueline Woodson Jeanette Winterson

A History of Danish Literature

For centuries, Denmark dominated the culture of Scandinavia, and its literature has influenced such English works as Beowulf and Hamlet as well as major philosophical movements: humanism, romanticism, existentialism. With contributions from nine internationally recognized scholars, A History of Danish Literature reaches back as far as the literary record allows, to the ancient runic inscriptions, and thence to medieval Latin, the development of literature in the vernacular, and the flowering of a distinct Danish literary tradition numbering among its luminaries Hans Christian Andersen, Soren Kierkegaard, and Karen Blixen. The volume includes, in addition, chapters on Faroese literature, women's literature, and children's literature. The approach used in A History of Danish Literature is maintained in the other volumes of A History of Scandinavian Literatures, which surveys the literary history of Denmark, Norway, Sweden, Iceland, and Finland. These literatures are viewed not only as part of an interrelated Scandinavian tradition but as part of world literature. A comparative approach is used through-out, and social and cultural history feature prominently. Contributors to Volume 1 include David W. Colbert, Sven H. Rossel, F.J. Billeskov Jansen, P.M. Mitchell, Niels Ingwersen, Poul Houe, W. Glyn Jones, Faith Ingwersen, and Flemming Mouritsen.

A History of Danish Literature

A History of Danish Literature

Hidden sexuality and suppressed passion. A theme in danish golden age literature

Hidden sexuality and suppressed passion. A theme in danish golden age literature

Collections/Dictionaries

236Rocky Mountain Review The first major publication to take advantage of O'Donnell is The Uncollected Verse ofAphra Behn, edited with introduction and notes by Germaine Greer. With the goal ofeventually producing an entire new edition ofBehn, Greer has begun by assembling all the poetry not included in the six-volume Summers edition, some of which has not been reprinted since Behn's lifetime. After an overview ofthe flawed Summers set, sixteen poems are reprinted, including those to Charles II, James ?, the newly born Prince ofWales, and to Queens Catherine and Mary II. Verses to Creech and Roger L'Estrange are also present, along with Behn's translations of "Aesop's Fables" and Cowley's "Of Plants, Sylva." All are accompanied by excellent notes. While there are some typographical errors, and Lady Anne Spencer was the daughter of the Earl of Sunderland, not the Earl of Cumberland (189), Greer has produced the long awaited first step toward a complete scholarly edition of Aphra Behn. COLLECTIONS/DICTIONARIES Women Writers ofthe Seventeenth Century, edited by Katharina M. Wilson and Frank J. Warnke. Athens: University of Georgia Press, 1989. 545 p. Kissing the Rod: An Anthology of Seventeenth-Century Women's Verse, edited by Germaine Greer, Susan Hastings, Jeslyn Medoff, and Melinda Sansone . New York: Farrar Straus Giroux, 1988. 477 p. A Dictionary ofBritish and American Women Writers, 1660-1800, edited by Janet Todd. Rev. ed. Totowa, NJ: Rowman & Littlefield, 1987. 344 p. British Women Writers: A Critical Reference Guide, edited by Janet Todd. New York: Continuum, 1989. 762 p. To the growing list of studies on the early modern period can now be added Women Writers ofthe Seventeenth Century, edited by Katharina M. Wilson and the late Frank J. Warnke, a continuation ofthe earlier Medieval Women Writers (1984) and Women Writers ofthe Renaissance and Reformation (1987), both edited by Wilson. The newest volume features another impressive selection oftwenty writers from Europe and England and, as with the earlier volumes, contains a biography, a sampler of works, and bibliographies for each entry. Sverre Lyngstad's chapter, "Leonora Christina: The Danish Princess," draws a wider audience to Leonora Christina, Countess Ulfeldt, a cousin ofEngland's Charles ?. During the twenty-two years ofher imprisonment the Countess wrote her powerful Memory ofSorrow, considered the greatest work of seventeenthcentury Danish literature and the finest memoir of that language. Memory of Sorrow has seen two English publications, one in the late nineteenth century and a better, but still flawed, 1929 edition. Lyngstad's newly translated excerpts, extending to fourteen pages, give hints ofthe richness ofthe original document and, I hope, will inspire someone to give us a first-rate English translation of this autobiography. "Sibylle Schwarz: Prodigy and Feminist," by Susan L. Clark, introduces a Book Reviews237 nearly forgotten German poet whose life paralleled the ferocious Thirty Years' War. The "Pomeranian Sappho," whose entire body of verse was written before her seventeenth year, was well known in her own century—"we have women in Germany whose poetic skills would put men to shame" (433). Clark's thirteen pages of new translations uncover yet another talented writer and again illustrate the need for a full translation. Probably the first female autobiography from Italy is discussed in Valeria Finucci's "Camilla Faà Gonzaga: The Italian Memorialist." Ruth Lundelius examines Ana Caro, a long forgotten dramatist from the Spanish Golden Age. Marie de Gournay's chapter by Maya Bijvoet contains an excerpt from Gournay 's "The Equality of Men and Women." The essay with which I find some problems is Joyce L. Irwin's "Anna Maria van Schurman: Learned Woman of Utrecht," for there is too much dependence on Una Birch's unreliable Anna van Schurman: Artist, Scholar, Saint (1909). For information about van Schurman's closest friend, Princess Elizabeth, Irwin unfortunately used M. P. R. Blaze de Bury's Memoirs of the Princess Palatine (1853), rather than Elizabeth Godfrey's somewhat more reliable A Sister ofPrince Rupert (1909), which took advantage of the newly discovered correspondence between Elizabeth and Descartes, and corrected some serious misrepresentations in the earlier publication. The Princess was a niece of Charles I of England , an association providing a better explanation for the connection between van...

Organic solvents and presenile dementia (the painters' syndrome). A critical review of the Danish literature

Since 1971 a series of Danish medical articles have been published which concludes that the occupational inhalation of organic solvents can induce a chronic cerebral disease manifesting itself in a presenile syndrome. As the articles have mainly dealt with the exposure of painters, the disease has also been called “the painters syndrome”. The publications have brought about, by law, an almost exponential recognition of “the painters syndrome” as an occupational disease. It has therefore become necessary to undertake a critical scientific analysis of the Danish publications which appeared between 1972 and February 1983. The conclusion of this evaluation is, that the Danish articles do not prove that occupational exposure to organic solvents produces a presenile demens. The indications that it does are very slender. The importance of adhering strictly to present regulations of working conditions is emphasized.

A Collection Development Model for Foreign Literatures

This article describes the methodology the Memorial Library of the University of Wisconsin-Madison has used in developing a nationally important collection of contemporary Danish literature. It stresses the importance of cooperative efforts, analyzes the merits of various procedures, in particular approval plans against title-by-title selection, and suggests various means of coping with the publications of small presses and the identifying of important new authors. It concludes that only a multifaceted approach that takes into account a particular country's literary history and publication pattern is successful.

Ole Hyltoft and the Neorealistic Trends in Contemporary Danish Literature

Ole Hyltoft and the Neorealistic Trends in Contemporary Danish Literature

Crisis and Redemption: An Introduction to Danish Writer Ole Sarvig

By SVEN H. ROSSEL In an essay about modern Danish poetry the German author Hans Magnus Enzensberger lists a number of dates which he regards as milestones in the history of modernism in Denmark.1 The dates are the years 1906, 1923, 1943 and 1961, marking respectively the publication of Johannes V. Jensen's Digte (Poems), Otto Gelsted's poem Reklameskibet (The Ship of Commercials), Ole Sarvig's debut collection Gr0nne digte (Green Poems) and the collection Camouflage by Klaus Rifbjerg (see BA 49:1, pp. 25-28). Such sweeping statements may appear impressive but certainly are too casual, since other dates, other names could be mentioned. Beyond dispute, however, is the fact that Ole Sarvig (b. 1921) stands as the first author in Danish literature who consistently deals with the existential problems of modern man in a world without fixed standards and who regards this situation as a serious crisis or impending catastrophe which must be averted. Sarvig's writings thus form a grandiose and coherent analysis of man's insecurity and dread. He knows that he is dealing with the symptoms of a universal crisis, caused by the fact that we have reached a turning point in the history of civilization. Our conduct, our attitudes, are only empty gestures devoid of life and, at the same time, rejecting life itself. Our behavior and reactions are simply shallow formalities symbolized by an anonymous city populated by shadows without any substance, a somber scenery which has become a characteristic metaphor in Sarvig's writings and also forms the invisible background for his shortest poem, Sen eftermiddag (Late Afternoon) : It is late afternoon. / People are standing, / as if they were listening.2 The uncertainty of this situation (as if) indicates that the only clear consciousness is that of the poet, the sole person who is awake in a sleeping world. He is the .one who is able to depict the crisis and, in addition, express the longing of mankind for a change an omniscient function which may explain the pathetic, sometimes prophetic tone of Sarvig's poetry. The lyrical part of his large production consists mainly of five collections written during the German occupation of Denmark (1940-45) and the turbulent postwar years. They form a cycle the connecting link of which is the author's search for an answer to the crisis.