Aus unseren Neuerwerbungen – Nordische Philologie 2023.4

Aes­thet­ics of Protes­tantism in North­ern Europe – Explor­ing the field
This book explores the aes­thet­ic con­se­quences of Protes­tantism in Scan­di­navia. Four­teen case stud­ies from the six­teenth to the twen­ty-first cen­tu­ry dis­cuss five abstract and trans-his­tor­i­cal prin­ci­ples that char­ac­ter­ize Scan­di­na­vian aes­thet­ics and that arguably derive from Protes­tant think­ing and prac­tice, name­ly: sim­plic­i­ty, logo­cen­trism, ten­sion between pro­nounced indi­vid­u­al­ism and col­lec­tivism, relat­ed­ness to the world, and ethics. The con­tri­bu­tions address the pecu­liar aes­thet­ics of Scan­di­na­vian print, lit­er­a­ture, archi­tec­ture, film, and opera and reflect on the influ­ence of Protes­tant tra­di­tions on the estab­lish­ment of gen­res and writ­ing prac­tices. This vol­ume is the first in a new series that will focus on the aes­thet­ics of Protes­tantism in Scan­di­navia, both the­o­ret­i­cal­ly and through exem­plary indi­vid­ual analy­ses.
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The Scan­di­na­vian Inva­sion: Nordic Noir and Beyond
You might think you know what Nordic Noir is. Bru­tal crimes. Harsh land­scapes. Bril­liant but social­ly dys­func­tion­al pro­tag­o­nists. Styl­ish knitwear. Yet, as a gener­ic cat­e­go­ry and cul­tur­al phe­nom­e­non, Nordic Noir has always been far more com­plex. The sto­ry of its suc­cess owes as much to adap­ta­tion and evo­lu­tion as it does to geo­graph­i­cal migra­tion or cos­mopoli­tan curios­i­ty.
But how did this hap­pen? What was it about the genre that struck such a chord with inter­na­tion­al audi­ences and read­ers? How did it build on pre­vi­ous trends and influ­ences? And how has the cat­e­go­ry changed in order to sur­vive in a cut­throat com­mer­cial land­scape? Has it become less «Nordic »? Less «noir »? Has its prover­bial moment in the sun passed?
Fea­tur­ing twelve orig­i­nal chap­ters and an edi­to­r­i­al intro­duc­tion, The Scan­di­na­vian Inva­sion brings togeth­er lead­ing media and lit­er­a­ture schol­ars from the UK, Den­mark and Aus­tralia to crit­i­cal­ly exam­ine how the phe­nom­e­non took shape and what we can learn from it. By explor­ing the cul­tur­al, aes­thet­ic and indus­tri­al forces that pro­pelled Nordic Noir across bor­ders, the book pro­vides a kalei­do­scop­ic look at a dis­rup­tive cul­tur­al phe­nom­e­non in tran­si­tion.
Nordic Noir is dead. Long live Nordic Noir!
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