Search results for ""Aarhus University Press""

N F S Grundtvig, a chief shaper of Denmark's modern identity and an active force in Danish social, political and religious life, was an outstanding intellect of the European 19th century. This book comprises English translations of an extensive selection of Grundtvig's own retrospect upon events, causes, and periods of his life.

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‘A lover of light’: in 1912, a French critic used these words to describe the great Danish painter Peder Severin Krøyer, who had close ties to the French art scene for more than two decades. Krøyer first visited Paris in 1877, and his many letters clearly show the impact French art had on Krøyer’s own development as a painter, on the artists’ colony in Skagen, and on Danish art history in general.In Krøyer and Paris. French Connections and Nordic Colours, art historians Mette Harbo Lehmann and Dominique Lobstein describe Krøyer’s artistic development from the Golden Age tradition favoured by the Danish academy to Naturalism and the Modern Breakthrough. They show how inspiration from France can be traced in his painting technique and his open-air paintings from Skagen, revealing how French Naturalism made its mark on Krøyer’s distinctive style.

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The Core of Learning presents the philosophical framework of N.F.S. Grundtvig’s educational, poetic, theological, and political writings. In each of these fields he made a major contribution to the formation of modern Denmark. He situates humanity in the wider background of creation and nature, and in his alternative programme of enlightenment he focuses on the core and advance of Learning in the history of human civilization, and the role of emotions for all philosophical reflection.As part of its agenda to digitalise and translate Grundtvig’s vast output, the Grundtvig Study Centre at Aarhus University is pleased to publish this fifth volume in the series, ‘N.F.S. Grundtvig: Works in English’. Volume 1, The School for Life (2011), contains Grundtvig’s major writings on education, while Volume 2, Living Wellsprings (2015) contains a selection of his hymns, songs, and poems. Volume 3, Human Comes First (2018) contains articles and sermons relating to Grundtvig’s Christian theology, and Volume 4, The Common Good (2019) deals with his historical and political ideas.Recordings by the editor of all the introductions and texts are available free online at href=www.unipress.dk>www.unipress.dk

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Behind rolling hills, overlooking the fjord and the islands of Southern Funen, you will find Faaborg Museum. With its boldly coloured walls and decorative tile floors made from local clay, the building has quite literally sprung from Funen soil in a symbiosis of local nature and culture. Inside, visitors will find art by the ‘Funen Painters’, created during the period 1880 to 1928 when Faaborg was home to one of Denmark’s pre-eminent artists’ colonies. With their paintings of rural Funen, farmworkers and domestic scenes, the artists Peter Hansen, Fritz and Anna Syberg, Jens Birkholm and Johannes Larsen introduced new subject matter and new methods of painting in Danish art.Faaborg Museum was founded in 1910 by Mads Rasmussen, art patron and manufacturer of tinned goods and preserves. The museum was intended as a celebration of the art created in and around Faaborg. Together with the artists, he commissioned the architect Carl Petersen to create a building to house the museum’s collection – a building that is now acclaimed as a masterpiece of neoclassical architecture and embodies a rare union of art, architecture and design.Faaborg Museum and the Artists’ Colony presents the history of Faaborg Museum, its architecture, collection and artists to international audiences for the first time. Lavishly illustrated, the book features architectural photographs and plans as well as dozens of reproductions of the museum’s art.

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Pilgrims in Place, Pilgrims in Motion: Sacred Travel in the Ancient Mediterranean brings together exciting interdisciplinary scholarship on the connected poles of pilgrimage: the sanctuaries being visited, and the journeys to get there. Contributions investigate different concepts of place, community, social tensions and expectations of pilgrim behaviour; long-term meanings of place as embodied in memory and topography; mobility, migration and place-making; connectivity and its relationship to pilgrimage. Individual chapters discuss shrines, sanctuaries and sacred places as well as journeys and mobility across Greek, Roman and late antique contexts, framed as part of a key debate within the study of pilgrimage, the central tension between place and motion.

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Ascending and Descending the Acropolis – Mobility in Athenian Religion provides new perspectives on religious mobilities within the geographically limited region of Attica in Greece from the Late Bronze Age to the second century AD. Attica is a particularly fruitful region to study these forms of mobility, as it provides rich evidence across a range of material and textual sources for a variety of different mobile situations – both inside the city of Athens itself (such as on and circumnavigating the Acropolis) and to sanctuaries in its hinterland (such as Eleusis and Brauron), as well to as more distant sanctuaries, such as Delphi.

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During the last five decades we have witnessed an increase in activity among artists identifying themselves as Sámi, the only recognised indigenous people of Scandinavia. At the same time, art and duodji (traditional Sámi art and craft) have been organized and institutionalized, not least by the Sámi artists themselves. Sámi Art and Aesthetics discusses and highlights these developments and places them in historical and contemporary contexts for an international audience. At stake are complex, changing terms regarding the creative and the political agencies. The question is not how indigeneity, identity, people, art, duodji, and aesthetics correspond to conventional Western ideas, rather it is how they interact with the Sámi and their neighbouring cultures and societies.The volume is written by some of the foremost art historians and literary scholars in Sámi art, craft, architecture, culture, and indigenous studies. Artists presented include Johan Turi, Ivar Jåks, Outi Pieski, Folke Fjellström, Katarina Pirak Sikku, Geir Tore Holm, and Silje Figenschou Thoresen.

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The Viking Congresses bring together scholars of archaeology, philology, history, toponymy, numismatics and a number of other disciplines to discuss the Viking Age from a variety of viewpoints. This volume contains 44 peer-reviewed papers selected from those presented at the 18th Viking Congress held in Denmark in August 2017. The contributors take up the interdisciplinary challenge, and the papers cover a wide range of subjects, rooted in the past, but also connecting to the present.

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The articles in this number of Romantik include new research on reverie and dream as the locus of metaphor in Percy Bysshe Shelley’s Prometheus Unbound; an enquiry into the Royal Swedish Society for the Publication of Manuscripts Relating to Scandinavian History and the role it played in the construction of national memory and heritage; a discussion of Philippe Jacques de Loutherbourg’s and John Martin’s iconographies of the sublime in the intersection between art and popular visual spectacle; archival discoveries related to the publication of medieval romance in early nineteenth-century Britain; and a reassessment of The Prelude as a formation narrative, arguing that William Wordsworth displays a conflicted attitude to the growth and progress usually found in the Bildungsroman. The journal also contains reviews of new books on the romantic period published in the Nordic countries.

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In 1864, a large metal hoard of copper, bronze and silver objects was discovered at Pile in the southern Swedish region of Scania. The hoard has been dated to the onset of the rich Nordic Bronze Age, and emerges as the earliest, finest and one of the largest of the Nordic sacrificial deposits of metalwork in or near water. The metal hoard from Pile in Scania, Sweden provides the first detailed documentation, scientific examination and historical interpretation of the assemblage. Around 2000 BCE the site of Pile was networked with places near and the far in a manner that boosted the political economy of Southern Scandinavia, adding to an atmosphere of tensions and change -- and it made history. The chapters unfold as a ‘history from beneath’ beginning with place, things and time and concluding with metals and the worlds that intersected in Pile at the threshold of the long Bronze Age.

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