Kim Simonsen
Education:
2020-2021 Gladiator's Writer School Copenhagen.
2018 University pedagogic course. Department of Education, University of Bergen (basismodulen og tillægsmoduler i universitetspedagogikk 20 ETCS).
2014 PhD in literature. University of Roskilde in Denmark. Founded by the Danish Research Council.
2007 MA (Magister Artium/mag.art in Scandinavian Literature), Department of Nordic Studies and Linguistics, University of Copenhagen.
1999 BA Department of Nordic Studies and Linguistic, University of Copenhagen. Scandinavian Literature and philosophy.
Recent employment and ongoing work
Grant Holder Carlsberg
2021- Leader of the KKN and Nordic Council Founded Projects
- The Laboratory of Vounrability (climate and art project)
- Oceanic Connectedness and the new Nordic Textile Art and Geopoetry Project (Ecoart and geopoetry project).
2019 - Resescher University of Amsterdam. European Literature.
2018- Associate professor Nordic Literature, University of Bergen.
2018- Senior Fellow – Vossius Institute for the History of Humanities and Sciences, University of Amsterdam.
2014-2017 Postdoc Carlsberg Foundation Foreign Scholarship. University of Amsterdam, SPIN: Study Platform of Interlocking Nationalisms.
2014 – Leader of Romantic Travel Writing to the Far North 1800-1900. A Network supported by the Nordic Cultural Point.
2009-2017 Coordinator of the Scandinavian section of ERNiE - Encyclopedia of Romantic Nationalism in Europe. http://ernie.uva.nl/viewer.p/21
2016-2020 PhD Advisor for Tim van Gerven’s PhD-project on Pan-Scandinavism, University of Amsterdam.
2016 - Leader of the network on North Atlantic Digital Repatriation and Cultural Heritage Network. Supported by the Nordic Cultural Point.
Not so recent:
2007-2008 Teacher in The Faroese Gymnasium.
2008 Editor at Batzer og Co. Publishers Denmark.
2008 Project Manager for “Book Days” a literary festival.
2007-2008 Reviewer of film on Faroese TV.
2007 Founder of Eksil. 19 books published and edited.
2005-2008 Founder and editor of Outsider Magazine.
2000 Co-founder of literary magazine Bragi, Copenhagen.
1996-1999 Editor of Oyggjaskeggi, Thisis and Pisan. Copenhagen.
2000- 700 published newspaper articles.
Fellowships and awards
2021- Working grant from the Art Council six months.
2019- Fellow – Vossius Institute for the History of Humanities and Sciences, University of Amsterdam.
2019- Working grant from the Art Council two months.
2018- Working grant from the Art Council two months.
2017 Exeter College, Oxford University, Visiting Fellow.
2015-2016 Visting Scholar Stanford University at Centre for Spatial and Textual Analysis.
2014 Winner of the National Literary Award.
2014-2017 Carlsberg Foundation International Foreign post.doc.
2010 Columbia University, New York. The Germanic Department. Visiting Scholar for 9 months - sponsored by Prof. Andreas Huyssen.
2010 SPIN – Study Platform on Interlocking Nationalisms, University of Amsterdam. Visiting Scholar sponsored by Prof. Joep Leerssen.
2009-2012 Doctoral Research Fellowship, financed by the Danish Research Council (FKK). 1.950.000 DKK.
2007 Svend Grundtvig's and Axel Olrik's Scholarship for Scandinavian Studies in Older Literature). 25.000 DKK.
2013 Danish Science Foundation (Det Danske Videnskabernes Selskab) support to print dissertation.
Phone: 20188447
Address: Kronprinsessegade 37, 1. tv.
2020-2021 Gladiator's Writer School Copenhagen.
2018 University pedagogic course. Department of Education, University of Bergen (basismodulen og tillægsmoduler i universitetspedagogikk 20 ETCS).
2014 PhD in literature. University of Roskilde in Denmark. Founded by the Danish Research Council.
2007 MA (Magister Artium/mag.art in Scandinavian Literature), Department of Nordic Studies and Linguistics, University of Copenhagen.
1999 BA Department of Nordic Studies and Linguistic, University of Copenhagen. Scandinavian Literature and philosophy.
Recent employment and ongoing work
Grant Holder Carlsberg
2021- Leader of the KKN and Nordic Council Founded Projects
- The Laboratory of Vounrability (climate and art project)
- Oceanic Connectedness and the new Nordic Textile Art and Geopoetry Project (Ecoart and geopoetry project).
2019 - Resescher University of Amsterdam. European Literature.
2018- Associate professor Nordic Literature, University of Bergen.
2018- Senior Fellow – Vossius Institute for the History of Humanities and Sciences, University of Amsterdam.
2014-2017 Postdoc Carlsberg Foundation Foreign Scholarship. University of Amsterdam, SPIN: Study Platform of Interlocking Nationalisms.
2014 – Leader of Romantic Travel Writing to the Far North 1800-1900. A Network supported by the Nordic Cultural Point.
2009-2017 Coordinator of the Scandinavian section of ERNiE - Encyclopedia of Romantic Nationalism in Europe. http://ernie.uva.nl/viewer.p/21
2016-2020 PhD Advisor for Tim van Gerven’s PhD-project on Pan-Scandinavism, University of Amsterdam.
2016 - Leader of the network on North Atlantic Digital Repatriation and Cultural Heritage Network. Supported by the Nordic Cultural Point.
Not so recent:
2007-2008 Teacher in The Faroese Gymnasium.
2008 Editor at Batzer og Co. Publishers Denmark.
2008 Project Manager for “Book Days” a literary festival.
2007-2008 Reviewer of film on Faroese TV.
2007 Founder of Eksil. 19 books published and edited.
2005-2008 Founder and editor of Outsider Magazine.
2000 Co-founder of literary magazine Bragi, Copenhagen.
1996-1999 Editor of Oyggjaskeggi, Thisis and Pisan. Copenhagen.
2000- 700 published newspaper articles.
Fellowships and awards
2021- Working grant from the Art Council six months.
2019- Fellow – Vossius Institute for the History of Humanities and Sciences, University of Amsterdam.
2019- Working grant from the Art Council two months.
2018- Working grant from the Art Council two months.
2017 Exeter College, Oxford University, Visiting Fellow.
2015-2016 Visting Scholar Stanford University at Centre for Spatial and Textual Analysis.
2014 Winner of the National Literary Award.
2014-2017 Carlsberg Foundation International Foreign post.doc.
2010 Columbia University, New York. The Germanic Department. Visiting Scholar for 9 months - sponsored by Prof. Andreas Huyssen.
2010 SPIN – Study Platform on Interlocking Nationalisms, University of Amsterdam. Visiting Scholar sponsored by Prof. Joep Leerssen.
2009-2012 Doctoral Research Fellowship, financed by the Danish Research Council (FKK). 1.950.000 DKK.
2007 Svend Grundtvig's and Axel Olrik's Scholarship for Scandinavian Studies in Older Literature). 25.000 DKK.
2013 Danish Science Foundation (Det Danske Videnskabernes Selskab) support to print dissertation.
Phone: 20188447
Address: Kronprinsessegade 37, 1. tv.
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Kim Simonsen
3.1 Føroyar og tann romantiska nationalisman í Evropa
3.2 Tann nýggi týdningurin, málið fær
3.3 Tíðin undan teirri søguliggjørdu stavsetingini 1846/1847 3.4 Romantisk nationalisma og mál
3.5. Endurveking í Føroyum
3.6 Venceslaus Ulricus Hammershaimb
3.7 Niðurstøða
3.1 Føroyar og tann romantiska nationalisman í Evropa
Í tí, sum verður kallað tann langa 19’da øldin frá 1789 til 1914 vaks fram ein mentanarlig nationalisma í Evropa. Hon fekk ávirkan á bæði størri og á smærri lond, einamest á heilt smá øki sum Føroyar. Hendan hugmyndafrøðin fór at vísa seg, um vit brúka myndatalu, sum ein jøkul, ið kálvaði nýggjar tjóðir. Ein serlig tjóðskaparlig sjálvsmynd varð til, har mál fingu ein avgerðandi týdning. Fokus var á mentanina heima, og hetta gjørdi, at vit fingu nationalar útgávur av tónleiki, og vit fingu tjóðbúnar og fløgg. Dentur varð lagdur á skaldskap av mannamunni, og søguligar bókmentir fingu ein nýggjan leiklut.
Tað, sum hendi fyrst í 19. øld, var, at tann romantiska nationalisman tók seg fram. Hon hevði við sær alstóra virðing fyri máli, søgu og annars tí, sum eyðkennir tjóðina, sum verður hátíðarhildin. Tann romantiska nationalisman gjørdist eitt leiðandi ideal innan alla mentanarliga skapan, framleiðslu og miðling í teirri longu 19‘du øldini.
and the cultivation of national culture, and how both persons and institutions
in the first half of the nineteenth century became involved in collecting, edit-
ing and publishing folktales (and especially folk legends). As with the other
chapters in the book, this chapter will examine the transnational development of nationalist thinking which was cultivated through the collection and use offolklore by a growing network of scholars and cultural nationalists. The case selected to illustrate these points here is that of the Faroese collector of folk legends, V. U. Hammershaimb (1819–1909: see fig. 12.1), who will be considered in part in terms of his relationship with the philologist and cultural nationalist Carl Christian Rafn (1785–1864), the secretary of the Royal Society of Northern Antiquaries (Det Kongelige Nordiske Oldskriftselskab) in Copenhagen, and the cultural network that Rafn had established in Europe.
Grimm Ripples: The Legacy of the Grimms’ Deutsche Sagen in Northern Europe
Series:
National Cultivation of Culture, Volume: 30
Volume Editor: Terry Gunnell
This book sheds new light on the central role of the Grimms’ all too often neglected Deutsche Sagen (German Legends), published in 1816-1818 as a follow up to their famous collection of fairy tales. As the chapters in this book demonstrate, Deutsche Sagen, with its firmly nationalistic title, set in motion a cultural tsunami of folklore collection throughout Northern Europe from Ireland and Estonia, which focused initially on the collection of folk legends rather than fairy tales.
Grimm Ripples focuses on the initial northward wave of collection between 1816 and 1870, and the letters, introductions and reviews associated with these collections which effectively demonstrate how those involved understood what was being collected. This approach offers important new insights into the key role played by Folkloristics in the Romantic Nationalistic movement of the early nineteenth century.
Contributors are: Terry Gunnell, Joep Leerssen, Holger Ehrhardt, Timothy R. Tangherlini, Herleik Baklid, Ane Ohrvik, Line Esborg, Fredrik Skott, John Lindow, Éilís Ní Dhiubhne Almqvist, John Shaw, Jonathan Roper, Kim Simonsen, Rósa Þorsteinsdóttir, Liina Lukas, Pertti Anttonen, Ulrika Wolf-Knuts, and Susanne Österlund-Pötzsch.See Less
Copyright Year: 2022
E-Book (PDF)
Availability: Published
ISBN: 978-90-04-51164-4
Publication date: 04 Apr 2022
Hardback
Availability: Published
ISBN: 978-90-04-51160-6
Publication date: 07 Apr 2022
Faroese-Language Poets: Guðrið Helmsdal, Tóroddur Poulsen, and Kim Simonsen
Icelandic-Language Poets: Einar Már Guðmundsson, Kristín Ómarsdóttir, and Kristín Svava Tómasdóttir
Norwegian-Language Poets: Terje Dragseth, Henrik J. Ibsen, and Ingrid Storholmen
Swedish-Language Poets: Bengt Berg, Stig Dagerman, and Jila Mossaed
Translated By: Ørjan Amundsen, Bengt Berg, Sarah M. Brownsberger, Nancy Naomi Carlson, Lo Dagerman, Pål Gumpen, Bradley Harmon, Irmeli Kuehnel, K.B. Thors, and Randi Ward
The Faroe Islands are perhaps spoken of as an unruly Danish province, but also as an otherness in relation to Danishness, which creates an position as an outsider.
The country is represented as an ambivalent trope, both as a romantic curiosity – with accompanying tropes of lagging behind and having shortcomings in terms of modernity – and therefore with a built-in insignificance. At the same time, the country is demonized for building too many tunnels. This rhetoric relates to an opaque web of Danish political, nationalist, economic, social, ideological contexts, all of which are constructed based on the majority society's notions of one's own identity.
The view of the Faroe Islands is thus based on a Danish monocultural worldview (while the Commonwealth consists of three nations), where multiculturalism plays no role in the still nationally romantic Danish history. It is from here that the Danish media speaks to itself, as a hierarchical power discourse that often sets up unnecessarily hard boundaries between centre and periphery and uses unconscious techniques of domination and marginalization. One of these is to see both the Faroes and the islands as something exotic and romantic.
It is a given that the Faroe Islands have beautiful nature, but modern Faroese culture is not a product of nature's beauty. It is an ancient view of people to see them as an extension of the nature they live in and with. The Faroe Islands have the same time zone as London and are not in Micronesia.
There is often a will to exaggerate the difference between Denmark and the Faroe Islands, which creates and organizes knowledge about the Faroe Islands.
The Faroe Islands are perhaps spoken of as an unruly Danish province, but also as an otherness in relation to Danishness, which creates an position as an outsider.
The country is represented as an ambivalent trope, both as a romantic curiosity – with accompanying tropes of lagging behind and having shortcomings in terms of modernity – and therefore with a built-in insignificance. At the same time, the country is demonized for building too many tunnels. This rhetoric relates to an opaque web of Danish political, nationalist, economic, social, ideological contexts, all of which are constructed based on the majority society's notions of one's own identity.
The view of the Faroe Islands is thus based on a Danish monocultural worldview (while the Commonwealth consists of three nations), where multiculturalism plays no role in the still nationally romantic Danish history. It is from here that the Danish media speaks to itself, as a hierarchical power discourse that often sets up unnecessarily hard boundaries between centre and periphery and uses unconscious techniques of domination and marginalization. One of these is to see both the Faroes and the islands as something exotic and romantic.
It is a given that the Faroe Islands have beautiful nature, but modern Faroese culture is not a product of nature's beauty. It is an ancient view of people to see them as an extension of the nature they live in and with. The Faroe Islands have the same time zone as London and are not in Micronesia.
There is often a will to exaggerate the difference between Denmark and the Faroe Islands, which creates and organizes knowledge about the Faroe Islands.
Julia Kristeva writes in her article Powers of Horror about that which lies between the object and the subject, namely the abject. Referring to things such as one’s own nail clippings or tufts of cut hair, maybe a whole pile of nail clippings, or even a cloth woven from toe nail clippings. The abject is that which is neither object or subject, especially bodily waste such as fecal matter, loose hair, nail clippings, vomit, and dead skin.
In the West we consider the soul as the eternal, and not the material body, since the body is destined to rot and decay. In this dualistic view, the body is viewed as inferior, filled with lust and lewdness. The image of hell has always had a more tangible mortal materiality, whereas the spherical abstract notions of heaven are seen as a fluffy eternal cloud.
Ever since Plato and Hellenism to today’s Christian discourse, we have viewed the soul as ontologically superior in regard to all materiality. This is why it is especially traumatic for us to be reminded of our own materiality e.g. death, when we are faced with our own previously mentioned bodily waste.
Materials that evoke this similar reaction as the abject are for example the skin that forms on top of warm milk, cream, porridge, and paint. This is where Jón Sonni Jensen’s art kicks in.
THE LIMIT BETWEEN THE HUMAN AND NON-HUMAN
The philosopher Jane Bennet notes in Vibrant Matter - A Political Ecology of Things, that we should not simply split the world into the ‘bad and dead’ things versus the ‘living and vital’ life. She states that there is also a vitality in purulent matter. Of course, we ourselves are ‘living’ materiality. Materiality is neither passive nor neutral or something we just ‘move around’ as we want, but an active force with its own inherent significance. Things and materiality operate. Granted, things do not have their own will like we do, but everything around us has effects. For example, an object like a chair, or how the ash from a volcano can halt all air traffic, or a virus can affect the entire world - in other words burst the ‘bubble' ‘that is our society. According to biological definitions, a virus is considered more of a thing than living matter.
his stepson, Henri Petri. When Petri died in
1579 his son, also named Sebastian, took
over. He believed it was about time the
maps in the book were renewed before being published again. They first appeared in
the 1588 edition the Cosmography. The
map had Ortelius’ map of the Northern
Countries as a model.
Maps and Geographic Knowledge
The great discoveries of Columbus, da Gama, Vespucci, Magellan, and others transformed the world maps of those days.
In Cosmographia we find a map of the
Northern countries loosely based on Olaus’
Carta marina from 1539.
Münster obtained original manuscript material for description of the countryside and of
villages and towns, he worked mostly with
printed materials as sources for his book.
Fuhr, Michael; Warming, Dagmar (2008). Modern art from the Faroe Islands (Wien; Tórshavn: Leopoldmuseum; Listasavn)
Heinesen, William (1982). Færøsk kunst (Tórshavn: Bókagarður)
Jákupsson, Bárður (2000). Færøernes billedkunst (Tórshavn: Atlantia).
© the author and SPIN. Cite as follows (or as adapted to your stylesheet of choice): Simonsen, Kim, 2019. "Visual arts : Faroese", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen
(Electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.2/a, last changed 10-01-2019, consulted 26-02-2020.
With help from Rasmus Rask, Rafn went on to compile from Icelandic sagas an edition of the Faroe Saga, which was published in Denmark in 1832. Rafn’s two books triggered other editions.
In 1907 the philologist Jacob Jakobsen (1864–1918) published an edition of letters from the Middle Ages as Diplomatarium Færoense – Føroyskt fodnbrævasavn: Miðaldarbröv upp til trúðbótarskeiðið við søguligum rannsóknum. Chr. Matras (1900–1988, Faroese professor at Copenhagen) published a series of old texts under the name Færoensia textus & investigationes and founded a still-active Society for the Publication of Faroese Sources and Studies (Selskabet til udgivelse af Færøske kildeskrifter og studies). During the latter half of the 20th century the Faroese publisher Emil Thomas and his publishing house Bókagarður have published or republished 19th-century travel writers in Faroese translations, ballads, books about antiquities and ancient history, doctoral dissertations about Faroese matters and everything of importance to anything Faroese.
One textual source has become an almost sacrosanct national relic: the Seyðabrævið (“The sheep brevet”), a law text in Old Nordic with various rules on sheep-farming and social behaviour in force in the Islands in the period 1270-1400. The sheep brevet is the only literary document from this period in Faroese history. After initial editions in the 19th and early 20th century, the authoritative Poulsen/Zacharias edition appeared in 1971. One of the two surviving medieval manuscripts was donated by the Swedish government to the Faroese national archive in Tórshavn in 1989.
Simonsen, Kim, 2019. "Text editions : Faroese", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen
(electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.2/a, last changed 14-01-2019, consulted 26-02-2020.
During Lyngbye’s time in the Faroes he met the local scholar J.C. Svabo (1746–1824), who introduced Lyngbye to the Faroese language and its balladry; when shown Lyngbye’s field notes, the philologist Peter Erasmus Müller realized that these ballads contained the Völsunga saga in a hitherto unknown sung form. Assisted by Johan Henrich Schrøter, Müller helped Lyngbye publish the folk-ballads, which appeared in 1822 as Færøiske Qvæder om Sigurd Fafnersbane og hans Æt (“Faroese folk-ballads about Sigurd, slayer of Fafner, and his kin”). The first book to be printed in Faroese, it alerted Germanic philologists everywhere to the survival of ancient Germanic saga material in oral form. The collection contains the most important Faroese ballads from the oral archive: 236 in number totalling 70,000 stanzas, the oldest of which date back to the 14th century, with topics ranging from the local to the European (Charlemagne and the death of Roland, a Nibelungen analogue with references to Attila).
Later travel writing by Lyngbye describes Faroese wedding rituals and the ballads people danced to at such occasions, and on the ruin of the medieval Magnus Cathedral in Kirkjubø.
Lyngbye’s travel writing and explorations, while pulling the Faroes into the European cultural purview, highlighted many fields as exotically interesting and, hence, a marker of cultural specificity: from medieval archeology to manners and customs, from oral balladry to literary history.
Lyngbye, Hans Christian (1820). “Færøske Oldsager. A. Om den gamle Kierkemuur ved Kirkeboe paa Færøe”, Antiquariske Annaler. Udgivne ved Den Kongelige Commision i Kjøbenhavn for Oldsagers Opbevaring, 3
Lyngbye, Hans Christian (1820). “Færøske Oldsager. B. Efterretning om adskillige Oldsager og Mærkværdigheder paa Færøe”, Antiquariske Annaler. Udgivne ved Den Kongelige Commision i Kjøbenhavn for Oldsagers Opbevaring, 3
Lyngbye, Hans Christian (1820). “Noget om Færøerne, især om de der brugelige Bryllupsskikke”, Magasin for Rejseiagttagelser, 1
Lyngbye, Hans Christian (1826). “Om Grindefangsten paa Færöerne, tilligemed Bidrag til Grindens Naturhistorie”, Tidsskrift for Naturvidenskab
Lyngbye, Hans Christian (ed.) (1822). Færøiske Qvæder om Sigurd Fofnersbane og hans Æt (Randers: S. Elmenhof)
Mortensen, Agnes Mols, Simonsen, Kim, 2018. "Lyngbye, Hans Christian", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen.
(electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.2/a, last changed 10-08-2018, consulted 26-02-2020.
Simonsen, Kim, 2018. "Hammershaimb, Venceslaus Ulricus", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen (electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.2.1/a, last changed 10-08-2018, consulted 26-02-2020.
In 1839 Barfod edited and founded Danske samfund (“Danish union”), as well as the mythologically-titled periodical Brage og Idun which had some éclat until it folded in 1842, and provided a platform for Scandinavist ideas. From 1846 he was librarian to Det Skandinaviske Selskab (“The Scandinavian society”), editing their Skandinavisk Folkekalender (“Scandinavian people’s calendar”, 1845-46).
His political ideas were radically democratic and supportive of the Danish peasant movement; this is evinced in the Almuevennen (“The friend of the common people”), which he edited from 1844 to 1847. His political writings provoked an interdict of five years in 1846, but this lapsed when a new constitution entered into force in 1849. Barfod had a seat in the Constituent Assembly of 1848-49 and was subsequently (until 1869) a parliamentarian delegate.
A lifelong ally of N.F.S. Grundtvig (he had established Det forenede velgørenhedsselskabs drengeskole, “The United Charitable Society School”, in 1834), Barfod wrote a number of narrative, popular history-books. The most famous of these appeared in 1853: Fortællinger af Fædrelandets Historie (“Tales from the history of the fatherland”).
Simonsen, Kim, 2018. "Barfod, Povl Frederik", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen (electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.1/a, last changed 10-08-2018, consulted 26-02-2020.
Faroese KOKS.
In
The widespread international interest in the Nordic region and the mobility of Nordic brand imaginaries call for more research into the global relevance of Nordic place-branding practices. This book offers a timely attempt to unpack the specificity of the Nordic in regard to place branding by gathering different transdisciplinary accounts written by researchers in marketing, tourism, geography, communication, sociology and political science.
they are representations of space in two
dimensions. One way to study maps is to
look at them as cultural historical sources to
our past. Historical maps tell us how the
North, the North Atlantic and the Faroe
Islands have been represented throughout
western history.
At the beginning of the 16th century, the
Northern countries were an unknown
region. The information about the North
was based on the descriptions written in
Antiquity and in medieval times. The cartographic
representation of the North was,
however, quite faulty and far from reality.
The North was imagined both as a place of
darkness, death and the seat of evil from
European antiquity to the time of the nineteenth
century, but also as a place of felicity
with virtuous happy people. Pytheas of
Massilia (350-285 BC) wrote about the
people of the North and the people of
Ultima Thule as the ‘Hyppoder’ (or, as they
are called in other texts, the Hyperboreans).
A standard reference in most maps is Ptolemy’s
Geography (Ptolemy or Claudius Ptolemaeus
c. 100c.-170 BC). It is the only book
on cartography to have survived from the
classical period. Written in the second century
AD. For more than fifteen centuries, it
was the most detailed reference on how to
draw maps.
In every nation on earth we will find people
of such preeminent importance that summarizing
their lives and their stupendous work
presents us with difficulties, not to mention
the changes they effected for their native
country and its people.
Kim Simonsen
3.1 Føroyar og tann romantiska nationalisman í Evropa
3.2 Tann nýggi týdningurin, málið fær
3.3 Tíðin undan teirri søguliggjørdu stavsetingini 1846/1847 3.4 Romantisk nationalisma og mál
3.5. Endurveking í Føroyum
3.6 Venceslaus Ulricus Hammershaimb
3.7 Niðurstøða
3.1 Føroyar og tann romantiska nationalisman í Evropa
Í tí, sum verður kallað tann langa 19’da øldin frá 1789 til 1914 vaks fram ein mentanarlig nationalisma í Evropa. Hon fekk ávirkan á bæði størri og á smærri lond, einamest á heilt smá øki sum Føroyar. Hendan hugmyndafrøðin fór at vísa seg, um vit brúka myndatalu, sum ein jøkul, ið kálvaði nýggjar tjóðir. Ein serlig tjóðskaparlig sjálvsmynd varð til, har mál fingu ein avgerðandi týdning. Fokus var á mentanina heima, og hetta gjørdi, at vit fingu nationalar útgávur av tónleiki, og vit fingu tjóðbúnar og fløgg. Dentur varð lagdur á skaldskap av mannamunni, og søguligar bókmentir fingu ein nýggjan leiklut.
Tað, sum hendi fyrst í 19. øld, var, at tann romantiska nationalisman tók seg fram. Hon hevði við sær alstóra virðing fyri máli, søgu og annars tí, sum eyðkennir tjóðina, sum verður hátíðarhildin. Tann romantiska nationalisman gjørdist eitt leiðandi ideal innan alla mentanarliga skapan, framleiðslu og miðling í teirri longu 19‘du øldini.
and the cultivation of national culture, and how both persons and institutions
in the first half of the nineteenth century became involved in collecting, edit-
ing and publishing folktales (and especially folk legends). As with the other
chapters in the book, this chapter will examine the transnational development of nationalist thinking which was cultivated through the collection and use offolklore by a growing network of scholars and cultural nationalists. The case selected to illustrate these points here is that of the Faroese collector of folk legends, V. U. Hammershaimb (1819–1909: see fig. 12.1), who will be considered in part in terms of his relationship with the philologist and cultural nationalist Carl Christian Rafn (1785–1864), the secretary of the Royal Society of Northern Antiquaries (Det Kongelige Nordiske Oldskriftselskab) in Copenhagen, and the cultural network that Rafn had established in Europe.
Grimm Ripples: The Legacy of the Grimms’ Deutsche Sagen in Northern Europe
Series:
National Cultivation of Culture, Volume: 30
Volume Editor: Terry Gunnell
This book sheds new light on the central role of the Grimms’ all too often neglected Deutsche Sagen (German Legends), published in 1816-1818 as a follow up to their famous collection of fairy tales. As the chapters in this book demonstrate, Deutsche Sagen, with its firmly nationalistic title, set in motion a cultural tsunami of folklore collection throughout Northern Europe from Ireland and Estonia, which focused initially on the collection of folk legends rather than fairy tales.
Grimm Ripples focuses on the initial northward wave of collection between 1816 and 1870, and the letters, introductions and reviews associated with these collections which effectively demonstrate how those involved understood what was being collected. This approach offers important new insights into the key role played by Folkloristics in the Romantic Nationalistic movement of the early nineteenth century.
Contributors are: Terry Gunnell, Joep Leerssen, Holger Ehrhardt, Timothy R. Tangherlini, Herleik Baklid, Ane Ohrvik, Line Esborg, Fredrik Skott, John Lindow, Éilís Ní Dhiubhne Almqvist, John Shaw, Jonathan Roper, Kim Simonsen, Rósa Þorsteinsdóttir, Liina Lukas, Pertti Anttonen, Ulrika Wolf-Knuts, and Susanne Österlund-Pötzsch.See Less
Copyright Year: 2022
E-Book (PDF)
Availability: Published
ISBN: 978-90-04-51164-4
Publication date: 04 Apr 2022
Hardback
Availability: Published
ISBN: 978-90-04-51160-6
Publication date: 07 Apr 2022
Faroese-Language Poets: Guðrið Helmsdal, Tóroddur Poulsen, and Kim Simonsen
Icelandic-Language Poets: Einar Már Guðmundsson, Kristín Ómarsdóttir, and Kristín Svava Tómasdóttir
Norwegian-Language Poets: Terje Dragseth, Henrik J. Ibsen, and Ingrid Storholmen
Swedish-Language Poets: Bengt Berg, Stig Dagerman, and Jila Mossaed
Translated By: Ørjan Amundsen, Bengt Berg, Sarah M. Brownsberger, Nancy Naomi Carlson, Lo Dagerman, Pål Gumpen, Bradley Harmon, Irmeli Kuehnel, K.B. Thors, and Randi Ward
The Faroe Islands are perhaps spoken of as an unruly Danish province, but also as an otherness in relation to Danishness, which creates an position as an outsider.
The country is represented as an ambivalent trope, both as a romantic curiosity – with accompanying tropes of lagging behind and having shortcomings in terms of modernity – and therefore with a built-in insignificance. At the same time, the country is demonized for building too many tunnels. This rhetoric relates to an opaque web of Danish political, nationalist, economic, social, ideological contexts, all of which are constructed based on the majority society's notions of one's own identity.
The view of the Faroe Islands is thus based on a Danish monocultural worldview (while the Commonwealth consists of three nations), where multiculturalism plays no role in the still nationally romantic Danish history. It is from here that the Danish media speaks to itself, as a hierarchical power discourse that often sets up unnecessarily hard boundaries between centre and periphery and uses unconscious techniques of domination and marginalization. One of these is to see both the Faroes and the islands as something exotic and romantic.
It is a given that the Faroe Islands have beautiful nature, but modern Faroese culture is not a product of nature's beauty. It is an ancient view of people to see them as an extension of the nature they live in and with. The Faroe Islands have the same time zone as London and are not in Micronesia.
There is often a will to exaggerate the difference between Denmark and the Faroe Islands, which creates and organizes knowledge about the Faroe Islands.
The Faroe Islands are perhaps spoken of as an unruly Danish province, but also as an otherness in relation to Danishness, which creates an position as an outsider.
The country is represented as an ambivalent trope, both as a romantic curiosity – with accompanying tropes of lagging behind and having shortcomings in terms of modernity – and therefore with a built-in insignificance. At the same time, the country is demonized for building too many tunnels. This rhetoric relates to an opaque web of Danish political, nationalist, economic, social, ideological contexts, all of which are constructed based on the majority society's notions of one's own identity.
The view of the Faroe Islands is thus based on a Danish monocultural worldview (while the Commonwealth consists of three nations), where multiculturalism plays no role in the still nationally romantic Danish history. It is from here that the Danish media speaks to itself, as a hierarchical power discourse that often sets up unnecessarily hard boundaries between centre and periphery and uses unconscious techniques of domination and marginalization. One of these is to see both the Faroes and the islands as something exotic and romantic.
It is a given that the Faroe Islands have beautiful nature, but modern Faroese culture is not a product of nature's beauty. It is an ancient view of people to see them as an extension of the nature they live in and with. The Faroe Islands have the same time zone as London and are not in Micronesia.
There is often a will to exaggerate the difference between Denmark and the Faroe Islands, which creates and organizes knowledge about the Faroe Islands.
Julia Kristeva writes in her article Powers of Horror about that which lies between the object and the subject, namely the abject. Referring to things such as one’s own nail clippings or tufts of cut hair, maybe a whole pile of nail clippings, or even a cloth woven from toe nail clippings. The abject is that which is neither object or subject, especially bodily waste such as fecal matter, loose hair, nail clippings, vomit, and dead skin.
In the West we consider the soul as the eternal, and not the material body, since the body is destined to rot and decay. In this dualistic view, the body is viewed as inferior, filled with lust and lewdness. The image of hell has always had a more tangible mortal materiality, whereas the spherical abstract notions of heaven are seen as a fluffy eternal cloud.
Ever since Plato and Hellenism to today’s Christian discourse, we have viewed the soul as ontologically superior in regard to all materiality. This is why it is especially traumatic for us to be reminded of our own materiality e.g. death, when we are faced with our own previously mentioned bodily waste.
Materials that evoke this similar reaction as the abject are for example the skin that forms on top of warm milk, cream, porridge, and paint. This is where Jón Sonni Jensen’s art kicks in.
THE LIMIT BETWEEN THE HUMAN AND NON-HUMAN
The philosopher Jane Bennet notes in Vibrant Matter - A Political Ecology of Things, that we should not simply split the world into the ‘bad and dead’ things versus the ‘living and vital’ life. She states that there is also a vitality in purulent matter. Of course, we ourselves are ‘living’ materiality. Materiality is neither passive nor neutral or something we just ‘move around’ as we want, but an active force with its own inherent significance. Things and materiality operate. Granted, things do not have their own will like we do, but everything around us has effects. For example, an object like a chair, or how the ash from a volcano can halt all air traffic, or a virus can affect the entire world - in other words burst the ‘bubble' ‘that is our society. According to biological definitions, a virus is considered more of a thing than living matter.
his stepson, Henri Petri. When Petri died in
1579 his son, also named Sebastian, took
over. He believed it was about time the
maps in the book were renewed before being published again. They first appeared in
the 1588 edition the Cosmography. The
map had Ortelius’ map of the Northern
Countries as a model.
Maps and Geographic Knowledge
The great discoveries of Columbus, da Gama, Vespucci, Magellan, and others transformed the world maps of those days.
In Cosmographia we find a map of the
Northern countries loosely based on Olaus’
Carta marina from 1539.
Münster obtained original manuscript material for description of the countryside and of
villages and towns, he worked mostly with
printed materials as sources for his book.
Fuhr, Michael; Warming, Dagmar (2008). Modern art from the Faroe Islands (Wien; Tórshavn: Leopoldmuseum; Listasavn)
Heinesen, William (1982). Færøsk kunst (Tórshavn: Bókagarður)
Jákupsson, Bárður (2000). Færøernes billedkunst (Tórshavn: Atlantia).
© the author and SPIN. Cite as follows (or as adapted to your stylesheet of choice): Simonsen, Kim, 2019. "Visual arts : Faroese", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen
(Electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.2/a, last changed 10-01-2019, consulted 26-02-2020.
With help from Rasmus Rask, Rafn went on to compile from Icelandic sagas an edition of the Faroe Saga, which was published in Denmark in 1832. Rafn’s two books triggered other editions.
In 1907 the philologist Jacob Jakobsen (1864–1918) published an edition of letters from the Middle Ages as Diplomatarium Færoense – Føroyskt fodnbrævasavn: Miðaldarbröv upp til trúðbótarskeiðið við søguligum rannsóknum. Chr. Matras (1900–1988, Faroese professor at Copenhagen) published a series of old texts under the name Færoensia textus & investigationes and founded a still-active Society for the Publication of Faroese Sources and Studies (Selskabet til udgivelse af Færøske kildeskrifter og studies). During the latter half of the 20th century the Faroese publisher Emil Thomas and his publishing house Bókagarður have published or republished 19th-century travel writers in Faroese translations, ballads, books about antiquities and ancient history, doctoral dissertations about Faroese matters and everything of importance to anything Faroese.
One textual source has become an almost sacrosanct national relic: the Seyðabrævið (“The sheep brevet”), a law text in Old Nordic with various rules on sheep-farming and social behaviour in force in the Islands in the period 1270-1400. The sheep brevet is the only literary document from this period in Faroese history. After initial editions in the 19th and early 20th century, the authoritative Poulsen/Zacharias edition appeared in 1971. One of the two surviving medieval manuscripts was donated by the Swedish government to the Faroese national archive in Tórshavn in 1989.
Simonsen, Kim, 2019. "Text editions : Faroese", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen
(electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.2/a, last changed 14-01-2019, consulted 26-02-2020.
During Lyngbye’s time in the Faroes he met the local scholar J.C. Svabo (1746–1824), who introduced Lyngbye to the Faroese language and its balladry; when shown Lyngbye’s field notes, the philologist Peter Erasmus Müller realized that these ballads contained the Völsunga saga in a hitherto unknown sung form. Assisted by Johan Henrich Schrøter, Müller helped Lyngbye publish the folk-ballads, which appeared in 1822 as Færøiske Qvæder om Sigurd Fafnersbane og hans Æt (“Faroese folk-ballads about Sigurd, slayer of Fafner, and his kin”). The first book to be printed in Faroese, it alerted Germanic philologists everywhere to the survival of ancient Germanic saga material in oral form. The collection contains the most important Faroese ballads from the oral archive: 236 in number totalling 70,000 stanzas, the oldest of which date back to the 14th century, with topics ranging from the local to the European (Charlemagne and the death of Roland, a Nibelungen analogue with references to Attila).
Later travel writing by Lyngbye describes Faroese wedding rituals and the ballads people danced to at such occasions, and on the ruin of the medieval Magnus Cathedral in Kirkjubø.
Lyngbye’s travel writing and explorations, while pulling the Faroes into the European cultural purview, highlighted many fields as exotically interesting and, hence, a marker of cultural specificity: from medieval archeology to manners and customs, from oral balladry to literary history.
Lyngbye, Hans Christian (1820). “Færøske Oldsager. A. Om den gamle Kierkemuur ved Kirkeboe paa Færøe”, Antiquariske Annaler. Udgivne ved Den Kongelige Commision i Kjøbenhavn for Oldsagers Opbevaring, 3
Lyngbye, Hans Christian (1820). “Færøske Oldsager. B. Efterretning om adskillige Oldsager og Mærkværdigheder paa Færøe”, Antiquariske Annaler. Udgivne ved Den Kongelige Commision i Kjøbenhavn for Oldsagers Opbevaring, 3
Lyngbye, Hans Christian (1820). “Noget om Færøerne, især om de der brugelige Bryllupsskikke”, Magasin for Rejseiagttagelser, 1
Lyngbye, Hans Christian (1826). “Om Grindefangsten paa Færöerne, tilligemed Bidrag til Grindens Naturhistorie”, Tidsskrift for Naturvidenskab
Lyngbye, Hans Christian (ed.) (1822). Færøiske Qvæder om Sigurd Fofnersbane og hans Æt (Randers: S. Elmenhof)
Mortensen, Agnes Mols, Simonsen, Kim, 2018. "Lyngbye, Hans Christian", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen.
(electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.2/a, last changed 10-08-2018, consulted 26-02-2020.
Simonsen, Kim, 2018. "Hammershaimb, Venceslaus Ulricus", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen (electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.2.1/a, last changed 10-08-2018, consulted 26-02-2020.
In 1839 Barfod edited and founded Danske samfund (“Danish union”), as well as the mythologically-titled periodical Brage og Idun which had some éclat until it folded in 1842, and provided a platform for Scandinavist ideas. From 1846 he was librarian to Det Skandinaviske Selskab (“The Scandinavian society”), editing their Skandinavisk Folkekalender (“Scandinavian people’s calendar”, 1845-46).
His political ideas were radically democratic and supportive of the Danish peasant movement; this is evinced in the Almuevennen (“The friend of the common people”), which he edited from 1844 to 1847. His political writings provoked an interdict of five years in 1846, but this lapsed when a new constitution entered into force in 1849. Barfod had a seat in the Constituent Assembly of 1848-49 and was subsequently (until 1869) a parliamentarian delegate.
A lifelong ally of N.F.S. Grundtvig (he had established Det forenede velgørenhedsselskabs drengeskole, “The United Charitable Society School”, in 1834), Barfod wrote a number of narrative, popular history-books. The most famous of these appeared in 1853: Fortællinger af Fædrelandets Historie (“Tales from the history of the fatherland”).
Simonsen, Kim, 2018. "Barfod, Povl Frederik", Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen (electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, https://ernie.uva.nl/), article version 1.1.1.1/a, last changed 10-08-2018, consulted 26-02-2020.
Faroese KOKS.
In
The widespread international interest in the Nordic region and the mobility of Nordic brand imaginaries call for more research into the global relevance of Nordic place-branding practices. This book offers a timely attempt to unpack the specificity of the Nordic in regard to place branding by gathering different transdisciplinary accounts written by researchers in marketing, tourism, geography, communication, sociology and political science.
they are representations of space in two
dimensions. One way to study maps is to
look at them as cultural historical sources to
our past. Historical maps tell us how the
North, the North Atlantic and the Faroe
Islands have been represented throughout
western history.
At the beginning of the 16th century, the
Northern countries were an unknown
region. The information about the North
was based on the descriptions written in
Antiquity and in medieval times. The cartographic
representation of the North was,
however, quite faulty and far from reality.
The North was imagined both as a place of
darkness, death and the seat of evil from
European antiquity to the time of the nineteenth
century, but also as a place of felicity
with virtuous happy people. Pytheas of
Massilia (350-285 BC) wrote about the
people of the North and the people of
Ultima Thule as the ‘Hyppoder’ (or, as they
are called in other texts, the Hyperboreans).
A standard reference in most maps is Ptolemy’s
Geography (Ptolemy or Claudius Ptolemaeus
c. 100c.-170 BC). It is the only book
on cartography to have survived from the
classical period. Written in the second century
AD. For more than fifteen centuries, it
was the most detailed reference on how to
draw maps.
In every nation on earth we will find people
of such preeminent importance that summarizing
their lives and their stupendous work
presents us with difficulties, not to mention
the changes they effected for their native
country and its people.
The collection is Kim Simonsen’s 5th poetry collection. He has previously published non-fiction books. His poetry is translated to many languages, most recently to Danish where he received a 5 star review in Ekstrabladet. In 2024 a translation will be published in the US.
The collection Lívfrøðiliga samansetingin í einum dropa av havvatni minnir um blóðið í mínum æðrum works with the ocean as an element. Thematically the speaker deals with his dead father, who has been a sailor his whole life and the ocean that is eating away the land, which simultaneously is our organic original home.
What is the philosophy of fish? The natural history of the three-spined stickleback? What is the human race’s position in regard to nature? Do mushrooms care for us, did the trees see us, when we were children? What stories do we tell about ourselves and those, we have lost?
In four parts the collection dissects everything that we touch and the joy of turning to the world, our skin, mites, viruses, and the whirlwind of bacteria, that is the biological foundation of every living thing.
Between worms, fish, trees and jellyfish references to biological diversity in the world are combined with literature, old philosophy, medical science and biology which is merged into a scientific and cosmic whole, where the ocean is reflected in everything, where the tiny and the mighty are united, where everything begins and ends with the ocean.
These “men of science” and “men of letters” are rarely studied together today, since modern day disciplines have travelled far apart, often departing from a common origin. In the beginning of the 19th Century disciplines were not finally institutionalized or developed. In Lyngbye’s case the botanists will study his writings an algae, while the folklorist his writings on oral liteature, wedding rituals, but in both cases something will be lost. The historian of knowledge, the historian of culture and the historians of science therefore has to go beyond this anachronistic atomization of the disciplines, and study travellers from various fields of knowledge production in order to understand how for example natural historians and Northern indigenous peoples encountered each other's ways of knowing the world? Also, how did the North Atlantic region change from this encounters, and what did these travels mean for the development of various European identities, the Romantic imagination, and the advancement of the sciences?
THE ROMANTIC FAR NORTH 1800-1900
The focus is on how the Romantic North was rediscovered though Romantic historicism,
Antiquarianism and travelling European “men of science and letters” 1800-1900. Furthermore, how polymath travellers and expeditions pursued antiquarian interests alongside scientific interests, especially with regard to the republication of Nordic and Celtic literatures in Europe.
We want to explore new aspects of how travelling European scientists, philologists, ”gentlemen scholars” and expeditions combined leisure, pleasure, exploration and the advancement of knowledge; how these travels had a lasting impact on the formation of cultural memory and the making of Nordic cultural heritage in the Romantic Far North; and gendered connotations of these cultural encounters.
Furthermore, we encourage object-oriented and environmental approaches as well as post-disciplinary studies, both situated within and traversing the humanities, sciences, social sciences, and the arts. This way, the network aims to cultivate current streams of thought, while also providing space for new pathways and disparate voices and bodies as a means of approach towards new knowledge.
We will explore how foreign travel literature played a distinct role in affecting the tenor of
19th-century thought and left an indelible mark on science, literature and art.
The prevailing idea behind this network stipulates that the international contacts, inspirational impulses and cross-currents found in travel writing are still largely marginalized in cultural heritage, art, science and also in disciplines such as literary studies, history, ethnology and other related fields. New research clearly indicates that travel writing is at the heart of a nation’s conception of self, and most disciplines utilize these sources in some capacity.
The idea of the North and the Arctic has been a powerful part of the image of these areas, since travellers were a part of forming the key building block of the historical self-image of these areas.