In this article I discuss how intellectual history can be fused with the history of the book. I base this on a case study of the concept of folk (the people) in a Scandinavian, but mainly Danish context in the popular literature written between 1822 and 1836 by the Danish author B.S. Ingemann. The main argument of the article is that in studying the history of political concepts we should include not only sources of politics and philosophy (canonical works) but broadly read work (including fiction) as sources, too, along with observations about the spread and circulation of these texts.
A Case Study on the Concept of Folk in Popular Literature in the Nineteenth Century
Lone Kølle Martinsen
Colette and the French Singularity
This article argues that French novelist Sidonie-Gabrielle Colette occupies a central position in the canon of French women's writing, and that from this position her reception was deeply influential in the development of the myth of French singularity. After World War I, a style of femininity associated with Colette (natural, instinctive, antirational) became more largely synonymous with good French women's writing, and writers who did not correspond to the “genre Colette” were excluded from narratives of the history of French women's writing. Characteristics associated with Colette's writing did not shift drastically before and after the war, but, in the wake of the Great War, these characteristics were nationalized and became French.
Following the first Glasgow gathering in June 1999, further bande dessinée conferences saw the creation of IBDS (2001), plans for a new journal (2005, with European Comic Art first appearing in 2008) and a shared gathering with the Graphic Novels and Comics Conference (2011 onwards). The initial part of this overview will be an unashamed nostalgia-fest as we look back on IBDS events from 1999 to 2019. As befits a good comic, the fun will nonetheless lead to more serious considerations. The evolution of IBDS stands as a marker of the evolution of comics studies, both in terms of the variety of works studied and approaches taken, and with respect to the acceptance of the discipline (if it is such). More generally, a retrospective on the last twenty years allows us to question the very nature of the canon – literary or otherwise – as it now stands, and to look forward speculatively to the developments of future decades.
The Shakespeare Ladies' Club and Reading Habits of Early Modern Women
Katherine West Scheil
In the 1730s a group of women known as the Shakespeare Ladies’ Club promoted performances of Shakespeare’s plays and supported the creation of the Shakespeare monument in Westminster Abbey. The Shakespeare Ladies’ Club (SLC) has been accorded a footnote in the reception history of Shakespeare, but no one has yet taken account of their importance for women’s participation in the intellectual and cultural life of eighteenth-century London. By tracing the dynamics of this group, we may increase our understanding of women’s reading habits, their effect on the theatrical repertoire, and their role in the public life of clubs and philanthropic endeavours. The convergence of several factors made the SLC possible; this article contextualises the SLC within the literary and cultural life of the eighteenth century, and examines the importance of the SLC in the life and work of one member, Elizabeth Boyd.
Hanan Snir’s Israeli-German Production (Weimar 1995)
the intricate critical reception history of Merchant in the German theatre. In order to understand the historiographical background of the Israeli-German Weimar production, we have to view this history from three perspectives. First, we must account
Biblical Forms in the Translations of Shakespeare’s The Merchant of Venice to Hebrew
, where he would have had plenty of opportunity to note the English reception history of the play. 7 What does Oz’s translation make of ‘revenge’? If a Jew wrong a Christian, what is his humility? – Revenge. 8 For Oz, in 1972, the biblical echo drops
Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward
editors instead pair biographies and historical essays with case studies and reception histories precisely to showcase the diversity of scholarly approaches to the study of visual ‘Blackness’ and of the ‘subculture’ and ‘community’ that have surrounded
the need to complete Sidney's fragmentary manuscript of the New Arcadia and add endings – and these were all happy endings. One instructive and telling example of the complicated textual and cultural revisions in the publication and reception
Annabel Brett, Fabian Steininger, Tobias Adler-Bartels, Juan Pablo Scarfi, and Jan Surman
largely ignores (except for a few glancing references) the translation to Latin America of Rousseau and Enlightenment political ideas more generally. Palti, of course, is not writing reception history, either of scholasticism or of Enlightenment thought
Honour at the Stake
’, however, requires some familiarity with their original context. Reception history cannot be separated from ‘the originating moment of a text’s production’. ‘Those formal and ideological characteristics and capacities inserted into it by the specific