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Transkulturelle Identität und Übersetzungsmodelle skandinavischer Literatur


Edited By Maria Krysztofiak

Dieser Sammelband erfasst ausgewählte Aspekte der literarisch konstruierten Identität und ihrer Umsetzung in narrative Weltbilder in den Werken skandinavischer Autoren. Dabei wird das Thema auf drei Ebenen erörtert, erstens im Rahmen der nationalen Denk- und Erzählmuster, zweitens im Bereich der skandinavischen, übernationalen Erzählung über gemeinsame Geschichte und Gegenwart sowie drittens im Hinblick auf die wirkungsästhetische Kommunikation der durch Übersetzungen skandinavischer Literaturen vermittelten Weltbilder und Kulturchiffren. Die Perspektive der Übersetzung der Literatur aus dem Norden hebt folgende Aspekte der Vermittlung skandinavischer Autoren hervor: die Notwendigkeit und die Art der Wiedergabe der charakteristischen Erzählweise, die auf die altnordische Narrativik zurückblickt, die Möglichkeit der Vermittlung eines durch den individuellen Kulturcode chiffrierten Gesamtkonzepts skandinavischer Literaturen sowie die wirkungsästhetische Bedeutung der Neuübersetzungen.


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The Postmodern Biography. Johnny Kondrup


The Postmodern Biography Johnny Kondrup 1. From disrepute to renaissance In the 1960s and 1970s, biography—both as a genre and as a method—was held in low esteem in Danish literary research. The same was also true in neighboring fields in Danish academia, such as literary theory and other modern philologies (e.g., English, German, Romance). This may initially be ascribed to the New Criticism movement, which gained prominence in Denmark in the 1960s.1 The New Critics held that each literary work was an autonomous aesthetic unit, a complex of internal structures that could, and should, be understood without regard for the person of the author. In the 1970s, New Criticism was superseded, at least in the universities, by Neo-Marxism. But this did nothing to help the cause of biography. On the contrary, biography now came to be regarded as a naïve genre, inasmuch as it overlooked the social structures that govern individuals’ lives, and merely reproduced those individuals’ false consciousness. By 1973, the climate had come to be such that the literary historian Peer E. Sørensen could declare his own study of Hans Christian Andersen’s writings „the last monograph.“ Sørensen could just as well have written „the last biography.“ His point was that any genre that takes the individual as its focus is an artifact of bourgeois consciousness, out of touch with the future.2 Yet opposition of this kind, driven as it was by movements outside the field, cannot fully account for biography’s disrepute in those...

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