We like to say that we are the first author agency in Sweden, founded in 1990. Yes, it is true that both August Strindberg and Astrid Lindgren also had passionate people – you could call them great agents – that successfully got their manuscripts published and dramatized worldwide. We are proud to be part of this tradition of bringing the best of Scandinavian authors to readers, listeners and viewers everywhere.
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From North to South – Founded in 1961, NordSüd is a tradition-steeped children’s book publisher based in Zurich, Switzerland. NordSüd publishes around 50 new publications every year, all of which are high-quality illustrated children’s books in German and English, focusing on fictional and non-fictional picture books, fairy tales and classics. It is our aim to work closely with artists and create new books together, which we represent worldwide and sell translation rights. Next to our own creations we buy German rights for well-known illustrators like Jon Klassen, Oliver Jeffers, Kazuo Iwamura, Sophie Blackall, Isabelle Arsenault and many more.
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Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century, with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. It creates an understanding of this under-researched cultural phenomenon by showing how the narratives make visible cultural anxieties haunting the Nordic countries, their welfare systems, identities and ideologies. Nordic Gothic examines how figures from Nordic folklore function as metaphorical expressions of Gothic themes and Nordic settings are explored from perspectives such as ecocriticism and postcolonialism. The book will be of interest to researchers and post- and- undergraduate students in various fields within the Humanities.
The five Nordic countries - Denmark, Finland, Iceland, Norway and Sweden - frequently attract attention as examples of a 'Nordic model'. The meanings of the term vary, but especially since the global financial crisis of 2008-9 the Nordic countries have often been portrayed positively, as examples of economic dynamism, innovation and social equality. Studies of these images of the Nordic countries and Nordic region and their international circulations are now a well-established field of research. This volume explores how the Nordic model has been shaped by global entanglements, in exchange not only with Western Europe and North America, but also with the Global South. Drawing on selected case studies, the volume offers new perspectives on the meanings of the Nordic model and Nordic exceptionalism in a global context during the half century since c. 1970.
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European Film Noir is the first book to bring together specialist discussions of film noir in specific European national cinemas. Written by leading scholars, this groundbreaking study provides an authoritative understanding of an important aspect of European cinema and of film noir itself, for too long considered as a solely American form. The Introduction reviews the problems of defining film noir, its key characteristics and discusses its significance to the development of European film, the relationship of specific national films noirs to each other, to American noir and to historical and social change. Eight chapters then discuss film noir in France, Germany, Britain and Spain, analysing both earlier developments and the evolution of neo-noir through to the present. A further chapter explores film noir in Italian cinema where its presence is not so well defined. Each piece provides a critical overview of the most significant films in relation to their industrial and social contexts. European Film Noir is an important contribution to the study of European cinema that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers.
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— Analysis of how we view Europe's North and how this image emerged — An outsider's perspective on Nordic societies and their self image — Serves as an introduction into Northern European culture and society Our image of Northern Europe has been shaped by projections and desires in the long history of encounters: berserkers and war atrocities, bad weather, beautiful nature, stable political systems, social welfare, equality and prosperity, peacefulness, low corruption, hygge and Bullerby – all this is part of the Nordic narrative. But what about the religious, linguistic and ethnic homogeneity, what about the muchvaunted Nordic cooperation? How do politics "work" in the North? Why are Northern Europeans the happiest people?
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European Film Noir is the first book to bring together specialist discussions of film noir in specific European national cinemas. Written by leading scholars, this groundbreaking study provides an authoritative understanding of an important aspect of European cinema and of film noir itself, for too long considered as a solely American form. The Introduction reviews the problems of defining film noir, its key characteristics and discusses its significance to the development of European film, the relationship of specific national films noirs to each other, to American noir and to historical and social change. Eight chapters then discuss film noir in France, Germany, Britain and Spain, analysing both earlier developments and the evolution of neo-noir through to the present. A further chapter explores film noir in Italian cinema where its presence is not so well defined. Each piece provides a critical overview of the most significant films in relation to their industrial and social contexts. European Film Noir is an important contribution to the study of European cinema that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers. ;
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This volume investigates the reception of a small historical fact with wide-ranging social, cultural and imaginative consequences. Inspired by Leif Eiriksson's visit to Vinland in about the year 1000, novels, poetry, history, politics, arts and crafts, comics, films and video games have all come to reflect rising interest in the medieval Norse and their North American presence. Uniquely in reception studies, From Iceland to the Americas approaches this dynamic between Nordic history and its reception by bringing together international authorities on mythology, language, film and cultural studies, as well as on the literature that has dominated critical reception. Collectively, the chapters not only explore the connections among medieval Iceland and the modern Americas, but also probe why medieval contact has become a modern cultural touchstone.
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Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.
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Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in unexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval film will be of interest to medievalists working in disciplines including literature, history, art history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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Focusing particularly on historically oriented sagas, Saga emotions identifies and examines a range of emotions from across Old Norse-Icelandic saga literature. Each chapter begins with a discrete emotion term, such as reiði (anger), gleði (joy), or the peculiarly Old Norse víghugr (killing-mood), exploring its usages within the broad saga corpus, and focusing on its contextual meanings and narrative purposes. The contributions explore the specifics of the lexical terms used for different emotion states and offer in-depth case studies that consider how various emotions manifest within particular examples of saga literature. The book offers the emotional granularity lacking in current studies of Norse emotion and serves as an essential foundation for future research and study into emotional depiction in Old Norse-Icelandic saga literature.
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Wie aus Opfern Täter werden, in welcher Weise dieser unaufhaltsame, alle Grenzen der Grausamkeit sprengende Prozess abläuft – dies erzählt Friedrich Ani, der Meister des Noir, hochspannend, überraschend und einfühlsam. Im Alter von vierzehn Jahren flieht ein Junge aus dem süddeutschen Dorf Heiligsheim. Vierzig Jahre später kehrt er als Ludwig »Luggi« Dragomir zurück: Alkohol, Drogen und alle gegen sich und die anderen ausgefochtenen Kriege in Berlin konnten die Erinnerungen an den Missbrauch seiner Spielkameraden und seiner selbst durch die Honoratioren von Heiligsheim nicht verdrängen. Die Schuldgefühle, seine Freunde nicht beschützt zu haben, treiben ihn an. Seit seiner Anwesenheit verschwinden gleich mehrere ältere Herren, einige werden tot aufgefunden – ob durch Unfall oder Mord, das versucht Kommissarin Anna Darko herauszufinden. Dabei gerät auch Ludwig ins Visier, weil er ein Verhältnis mit der Ehefrau eines der Vermissten hat – den er als Gefangenen im eigenen Haus malträtiert. Denn in Ludwig Dragomir hat Wut die Oberhand erlangt, und nun »durfte sie brennen« …
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The 12th revised and updated version of the History of the German language – long regarded as an indispensable standard work for German Studies, has just been published. From now on, this comprehensive textbook on the history of the language is divided into two volumes. In addition to introducing questions about historical linguistics, the first volume provides a detailed account of the prehistory and history of German right up to the present day. Based on extensive source analyses, the focus is on aspects of culture and social history; only the chapters on the Indo-Germanic and Germanic language include key information about structural history. The second part contains concise, but readily understandable accounts of Old, Middle and Early New High German in terms of phonology, graphemics, morphology and syntax. Not only are synchronous descriptions given of the particular language period, but also the development of German language construction at all structural levels is explained. The association of grammatical synchrony and structural diachrony is a particular characteristic of this second part of Schmidt’s work on the history of language.
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In the Western cultural production that puts individual or collective fear at its center, East/Central Europe has been portrayed as an othered space of horror - lawless, frightening zones where anything can happen. Incorporating articles on literature, film, visual arts, video games, music videos, and music festivals, Contemporary Slavic horror across media: Cursed zones is a pioneering anthology of academic essays devoted to Slavic horror fiction. The book focuses on works from the mid-20th century through the present, particularly the post-Soviet period. Assessing current trends in Czech, Polish, Russian, Slovak, Ukrainian, and East/Central European horror media, the book looks at similarities and idiosyncrasies of the genre in its Slavic variant. With this anthology we hope to tame 'the Easterner Other' and start exorcising 'monstrous' East/Central Europe.
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