In the 1930s, one of several small anti-parliamentarian, more or less authoritarian movements in Denmark was “Dansk Samling” (Danish Unity, see note 3), by its critics labeled as fascist or even nazi, in its self-understanding above all Christian and national and thus strongly opposed to any import of German ideology. In 1938, some of its members attended a meeting in Lübeck, and later that same year the movement’s periodical published “greetings to Germany” - a rather naive attempt at reaching a dialogue, but still without giving in on crucial matters.
In 1860 the Dutch author Multatuli (pen name of Eduard Douwes Dekker) published Max Havelaar, which was to become the most famous 19th century Dutch novel. In 2010 the book was rewritten by NRC-journalist Gijsbert van Es. His purpose was to make the book more accessible for secondary school pupils for whom Max Havelaar was on the mandatory reading list. He modernized the language, updated the vocabulary but also cut out a number of long-winded passages, making the 2010 version about one fifth shorter than the original. This article analyses the many reactions to the adaptation, going from lavish praise to complete disapproval. The article focuses on the arguments of advocates and opponents, evaluating their validity. It also tries to answer the question whether the author has achieved his aim.
Moderne skandinavisk kortprosa over for Franz Kafkas roman processen
The novel The trial, telling the story of the groundless arrest and prosecution of the bank clerk Josef K., remains one of the bestknown and most influential works written by Franz Kafka. Depicting the pointless struggle of a man placed at the mercy of a remote, inaccessible authority, it gives a symbolic account of the human condition in the modern era, characterised by the lack of universal truth, estrangement, confusion and existential impotence. Grasping the very idea of existential modernity, the novel provides ongoing inspiration for a great number of modernist and postmodernist writers all over the world, including Scandinavia. In the article presented below, The trial is examined as an intertext within the genre of the Scandinavian short prose, as it unfolds at breakthrough of modernism and postmodernism. Starting with the literary and critical works of the Danish modernist Villy Sørensen, and moving forward throughout the Danish and Norwegian minimalism of the 1990's, the paper discusses a range of different aspects of The trial, as they reappear in the short stories written by some of the main representatives of the Scandinavian short story. In this way, the article elucidates the relevance of Kafka's novel as an intertext for contemporary Scandinavian short fiction, as well as draws attention to the dialogical dimension of the genre.
Intercultural communication has become a scientific discipline which aims at improving communication during intercultural contacts by means of fostering the intercultural awareness and competence of the interlocutors involved within the intercultural communication process.
In view of the intensifying European and international contacts the interest for this competency has grown during the last decades. This can among others be observed within foreign language teaching, but also in the training of translators at university level where new didactical approaches and teaching methods are being developed in order to improve the intercultural of future translators.
This article presents a preliminary collaboration between the John Paul II Catholic University of Lublin and non-profit organization of translators, as well as the theoretical and practical backgrounds of a project which that they envisage to realize in future in order to transform its participants into intercultural competent translators.
Critics have interpreted Tarjei Vesaas’s novel The Ice Palace (1963) in psychological terms as a kind of rite-of-passage fable of two eleven-year-old girls, Siss and Unn. The latter dies in a magic Ice Palace short after their first meeting in Unn’s house. The novel’s plot is about how Siss is dealing with the loss. Other scholars put the emphasis on the folkloristic elements or read the text as an allegorical one, as a piece of art dealing with art.
In the following article I would like to read The Ice Palace as a poetic treatise on the relationship between mourning, melancholy on the one hand and commemoration, memorialization on the other.
Since mid-19th century Dutch and Flemish literature has often been translated into Central European languages. We find authors like Conscience, Multatuli or Heijermans almost everywhere, often with the same works. Until the late 19th century translations were often made via German. Czech had a special position. Though there is not that much translated into this language as into German, until World War II Czech was the language into which was translated more than into other Central European languages. Until the 20s many translators were writers themselves. This gives rise to questions such as how the choice was made, what is the position of a particular author or his work within translated literature? How was Dutch literature defined? In this paper, we give a look how the choice was made, at the position of translators of Dutch literature in the late 19th and early 20th century in the Czech literary field, the position of Dutch in their work and how this literature was received in translation.
The article attempts to analyze the reaction to the debut of the Danish poet of Palestinian descent Yahya Hassan (Yahya Hassan. Digte, 2013) among literary reviewers as well as in the Danish society. The impulse to write on this topic came after the nomination of Yahya Hassan for the Polish literary prize European Poet of Freedom 2016. The main aim is to explain the extraordinary fame as a writer and as a public person he gained already in the month of his literary debut (100.000 sold books in two months). The analyze will be focused on two fields of interest: the reception of the poetry itself and the writer’s personae.
Dutch, a West-Germanic language, is spoken by approximately 23 million people worldwide. In Europe, it is the language of all of the Netherlands and the northern part of Belgium, called Flanders. It is often said that since the Dutch and the Flemish speak Dutch differently, they in fact speak two different languages - Netherlandic Dutch and Belgian Dutch (Flemish). Linguists, however, argue they are not necessarily two separate languages but rather two varieties - a Netherlandic and a Belgian variety - of the same language, Dutch. Since there are a substantial number of grammatical, lexical, phonetic and even spelling differences between Belgian and Netherlandic Dutch, the question is whether Dutch is a pluricentric language with two centres of standardization or not. By explaining the socio-historical background of the Dutch language and giving a comprehensive overview of the differences between Netherlandic and Belgian Dutch, this article attempts to answer the aforementioned (research) question.
Lyrikkens rolle hos Czesław Miłosz og i hans norske gjendiktning ved Paal Brekke
The purpose of the paper is to compare the original verse by Czesław Miłosz and its translated version by Paal Brekke. To discuss the images of the poetry and the poet in Campo di Fiori and Tilegnelse the comparative translation theory is applied and the poets' literary background brought into focus. In the next step such issues as the translator's figure and his influence on the target text are addressed. The paper presents that Brekke's literary work alters Miłosz's original poetics.