Modernism is a truly international movement that cuts across many boundaries - territorial, political, cultural, and linguistic. Its geographical and temporal scope make it one of the most prominent fields of literary study. The essays in this book compare Modernist features of the Nordic literatures with the modernizing works and movements of the rest of twentieth-century Europe. The contributors situate the concept of Modernism in a pan-European context, and discuss how a range of texts respond to, and thus represent, facets of European Modernism at widely different moments - not least in the period following the second world war. In addition to studies of individual Nordic authors, the aspects of Modernism explored here include its response to war, the relationship between verbal and pictorial art, and Modernisms impact on later Nordic and European writers

A Cultural History of the Avant-Garde in the Nordic Countries 1900-1925 is the first publication to deal with the avant-garde in the Nordic countries at the start of the twentieth century. The essays cover a wide range of avant-garde manifestations in arts and culture: literature, the visual arts, painting as well as photography, architecture and design, film, radio, and performing arts like music, theatre and dance. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective which includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field, but in a broader cultural context. It examines the social and cultural context of the avant-garde: its media, its locations, its reception and audiences, the transmissions between Scandinavia and Europe, and its cultural consequences. The essays trace the connections between the avant-garde and the cultural discourses of contemporary currents such as revolutionary socialism, radical nationalism and occultism, and discuss questions of gender, ideology and politics, geographical location and technological innovation. The cultural history thus focuses on the role of the avant-garde in shaping the ideas of cultural modernity in the Nordic countries.

Helsinki in Early Twentieth-Century Literature analyses experiences of the Finnish capital in prose fiction published in Finnish in the period 1890–1940. It examines the relationships that are formed between Helsinki and fictional characters, focusing, especially, on the way in which urban public space is experienced. Particular attention is given to the description of movement through urban space. The primary material consists of a selection of more than sixty novels, collections of short stories and individual short stories. This study draws on two sets of theoretical frameworks: on the one hand, the expanding field of literary studies of the city, and on the other hand, concepts provided by humanistic and critical geography, as well as by urban studies. This study is the first monograph to examine Helsinki in literature written in Finnish. It shows that rich descriptions of urban life have formed an integral part of Finnish literature from the late nineteenth century onward.Around the turn of the twentieth century, literary Helsinki was approached from a variety of generic and thematic perspectives which were in close dialogue with international contemporary traditions and age-old images of the city, and defined by events typical of Helsinki’s own history. Helsinki literature of the 1920s and 1930s further developed the defining traits that took form around the turn of the century, adding a number of new thematic and stylistic nuances. The city experience was increasingly aestheticized and internalized. As the centre of the city became less prominent in literature,the margins of the city and specific socially defined neighbourhoods gained in importance. Many of the central characteristics of how Helsinki is experienced in the literature published during this period remain part of the ongoing discourse on literary Helsinki: Helsinki as a city of leisure and light, inviting dreamy wanderings; the experience of a city divided along the fault lines of gender,class and language; the city as a disorientating and paralyzing cesspit of vice;the city as an imago mundi, symbolic of the body politic; the city of everyday and often very mundane experiences, and the city that invites a profound sense of attachment – an environment onto which characters project their innermost sentiments.

This important collection of essays explores the growth and development of Nordic Modernisms in a European context. Modernism is a truly international movement that cuts across many boundaries - geographical, cultural, and linguistic. Modernism invol

This collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity could be matched on multiple historiographical perspectives while being attentive to the specificities of local music and their narratives in East Asia and Europe. The essays connect local, global and transnational history with sociological theories of modernity and modernization, making the volume an important contribution to overcoming the Eurocentric dichotomy between western music and world music within the field of historical musicology.

Biographical note: Sascha Bru, Genth University, Belgium; Peter Nicholls, University of Sussex, UK.

Finland's Holocaust considers antisemitism and the figure of the Holocaust in today's Finland. Taking up a range of issues - from cultural history, folklore, and sports, to the interpretation of military and national history - this collection examines how the writing of history has engaged and evaded the figure of the Holocaust.

This book examines the appropriation of theatre and theatrical performance by ideologies of humanism, in terms that continue to echo across the related disciplines of literary, drama, theatre, and performance history and studies today. From Aristotle onward, theatre has been regulated by three strains of critical poiesis: the literary, segregating theatre and the practices of the spectacular from the humanizing work attributed to the book and to the internality of reading; the dramatic, approving the address of theatrical performance only to the extent that it instrumentalizes literary value; and the theatrical, assimilating performance to the conjunction of literary and liberal values. These values have been used to figure not only the work of theatre, but also the propriety of the audience as a figure for its socializing work, along a privileged dualism from the aestheticized ensemble—harmonizing actor, character, and spectator to the essentialized drama—to the politicized assembly, theatre understood as an agonistic gathering.

We are often pressed to forgive or in need of forgiveness: Wrongdoing is common. Even after a perpetrator has been taken to court and punished, forgiveness still has a role to play. How should a victim and a perpetrator relate to each other outside the courtroom, and how should others relate to them? Communicating about forgiveness is particularly urgent in cases of civil war and crimes against humanity inside a community where, if there were no forgiveness, the community would fall apart. Forgiveness is governed by social and, in particular, by moral norms. Do those who ask to be forgiven have to fulfil certain conditions for being granted forgiveness? And what does the granting of forgiveness consist in? We may feel like refusing to forgive those perpetrators who have committed the most horrendous crimes. But is such a refusal justified even if they repent their crimes? Could there be a duty for the victim to forgive? Can forgiveness be granted by a third party? Under which conditions may we forgive ourselves? The papers collected in the present volume address all these questions, exploring the practice of forgiveness and its normative constraints. Topics include the ancient Chinese and the Christian traditions of forgiveness, the impact of forgiveness on the moral dignity and self-respect of the victim, self-forgiveness, the narrative of forgiveness as well as the limits of forgiveness. Such limits may arise from the personal, historical, or political conditions of wrongdoing or from the emotional constraints of the victims.