Nordic Literature of Decadence fills a gap on the map of world literature and participates in a thriving area of research by extending the investigation of broadly understood fin de siècle decadence to unexplored areas of Nordic literature, which remain practically unknown to Anglophone audiences. In the Nordic countries the new Parisian movements were seen as having caused a malicious invasion, a ‘black flood’ that was spreading over the North destroying the very foundations of Nordic national cultures. Nevertheless, the appeal of this controversial movement was irresistible to discontents and innovators, even in countries where the old moral, religious and nationalist atmosphere still retained its stranglehold and modern urban, industrial and social developments lagged behind that of the metropoles breeding this new literature and art. The Nordic countries developed their own distinctive manifestations of decadence favouring allegorical and allusive forms, local rural settings and depictions of primitive nature, coupling the philosophical underpinnings of fin-de-siècle decadence with ancient Nordic mythology and rising national movements. Nordic decadence thus became a distinctive and recognizable phenomenon, which travelled back to France and other European countries, influencing the ongoing debate on decadence as it was conducted on a global scale. Nordic Literature of Decadence discusses literature from five Nordic countries: Denmark, Norway, Sweden, Finland and Estonia and offers additional and alternative perspectives to the cosmopolitan traffic and cultural exchanges of literary decadence that have been explored so far in the English language scholarship.

Edited by Jane Desmarais and David Weir.

This book explores the growth and development of Nordic modernisms in a European context. Concentrating on and yet not limiting itself to the study of literary texts, the book shows that the emergence of modernism in the Nordic countries is linked to, and inspired by, the innovative works published in Western Europe and the USA towards the end of the nineteenth century and in the first decades of the twentieth century. Presenting Nordic art as multi-dimensional and dynamic, it also shows that, while responding to aspects of these innovative works, Nordic modernism itself contributed to modernism as a complex international trend. The plural form “modernisms” in the book’s title indicates that the contributors adopt an understanding of modernism that, while recognizing the importance of the modernist movement between circa 1890 and 1940, is sufficiently elastic to include various forms of extension and continuation of Nordic modernisms in the post-war period. The book shows that the experience of crisis—cultural, political, moral, aesthetic—that underlies modernist artists’ invention of radically new forms of expression was by no means limited to just one country or one identifiable group of writers; nor was it, as modernisms’ global relevance makes clear, restricted to just one continent. At the level of historical reality, the First World War represents the culmination of a crisis which had its beginnings several decades earlier. The Second World War, along with the Holocaust, represents a second culmination of the crisis, and there is, this book suggests, a sense in which the experience of crisis has continued to influence and shape Nordic literature written in the post-war period. Over the first two decades of the twenty-first century, the experience of crisis has increasingly been extended to include a growing uncertainty about the future prompted by the reality of climate change.

Decadent Ecology illuminates the networks of nature, paganism, and desire in 19th- and early 20th-century decadent literature and art. Combining the environmental humanities with aesthetic, queer and literary theory, this study reveals the interplay of art, eco-paganism and science during the formation of modern ecological and evolutionary thought.

The fin de siècle witnessed an extensive and heated debate about cosmopolitanism, which transformed readers' attitudes towards national identity, foreign literatures, translation, and the idea of world literature. Focussing on literature written in English, Literary Cosmopolitanism in the English Fin de Siècle offers a critical examination of cosmopolitanism as a distinctive feature of the literary modernity of this important period of transition. No longer conceived purely as an abstract philosophical ideal, cosmopolitanism--or world citizenship--informed the actual, living practices of authors and readers who sought new ways of relating local and global identities in an increasingly interconnected world. The book presents literary cosmopolitanism as a field of debate and controversy. While some writers and readers embraced the creative, imaginative, emotional, and political potentials of world citizenship, hostile critics denounced it as a politically and morally suspect ideal, and stressed instead the responsibilities of literature towards the nation. In this age of empire and rising nationalism, world citizenship came to enshrine a paradox: it simultaneously connoted positions of privilege and marginality, connectivity and non-belonging. Chapters on Oscar Wilde, Lafcadio Hearn, George Egerton, the periodical press, and artificial languages bring to light the variety of literary responses to the idea of world citizenship that proliferated at the turn of the twentieth century. The book interrogates cosmopolitanism as a liberal ideology that celebrates human diversity and as a social identity linked to worldliness; it investigates its effect on gender, ethics, and the emotions. It presents the literature of the fin de siècle as a dynamic space of exchange and mediation, and argues that our own approach to literary studies should become less national in focus.

How did Nordic culture become associated with the fuzzy brand “cool”, as by default? In Exploring NORDIC COOL in Literary History twenty-one scholars in collaboration question the seemingly natural fit between “Nordic” and “Cool” by investigating its variegated trajectories through literary history, from medieval legends to digital poetry. At the same time, the elasticity and polysemy of the word “cool” become a means to explore Nordic literary history afresh. It opens up a rich diversity of theoretical and methodological approaches within a regional framework and reveals hitherto unseen links between familiar and less familiar tracks and sites. Following diverse paths of “Nordic cool” in respect to – among other things – nature, survival, love, whiteness, style, economics, heroism and colonialism, this book challenges all-too-recognisable narratives, and underlines the sheer knowledge potential of literary historical research.

Because of its history, art, and natural and cultural landscapes, Italy has been a popular destination for North-European travellers since the age of the Grand Tour. Yet, literary images of Italy are not all linked to the tradition of the journey to this country and cannot be labelled as a manifestation of Northerners’ yearning for the Southern sun. The corpus of critical literature which deals with Italy in Nordic literatures is very wide but also fragmentary. While many scholars have written about this topic and chiefly on the relations between individual Scandinavian literatures or well-known authors – such as Henrik Ibsen, Selma Lagerlöf and Hans Christian Andersen – and Italy, few have emphasised their variety, plurality, and complexity. With its comparative approach, this study casts a new light on a selection of nineteenth- and twentieth-century representations of Italy and presents some of these Nordic Italies. Taking into account texts of different genres – poetry, drama and novel – and focusing on theories of representation, genre, and space, this book examines complex and heterogeneous literary representations that cannot be reduced to a single stereotype. In these texts, Italy emerges both as a set of physical spaces and as a series of metaphorical concepts. How are these Italian spaces and identities constructed and what do they stand for? What forms does the broad concept of Italianness take in these literary works? How are the Italian settings and characters, as well as the aspects of Italian politics, history, society, culture, and folklore that populate so many literary texts, shaped and combined? Is there a relationship between specific literary genres and the way in which Italy is represented? These are only some of the questions addressed by this study, which demonstrates how Nordic representations of Italy express much more than unanimous praise for the sun, idyllic landscapes, ruins, and mandolin players.