Margaretha Meyboom, 1856-1927

2019 ◽  
Author(s):  
Ester Jiresch
Keyword(s):  
Henrik Ibsen ◽  
Zijn Geweest ◽  
Knut Hamsun ◽  
Selma Lagerlof

Margaretha Anna Sophia Meyboom werd op 29 juli 1856 in Amsterdam geboren als tweede dochter in een domineesgezin. Haar ouders Angenis Henriette Frederika Tydeman (1828-1898) en Louis Susan Pedro Meyboom (1817-1874) hadden in totaal acht kinderen. De ouderlijke omgeving en vooral haar vader hadden een grote invloed op Meybooms leven en werk. Haar vader legde de basis voor haar twee grote passies, maatschappelijk engagement en interesse in het Noorden. Enerzijds was L.S.P. Meyboom een pionier op het gebied van moderne theologie, anderzijds was hij ook zeer geïnteresseerd in oude, heidense religies en schreef hij onder meer het boek De godsdienst der oude Noormannen1, waaruit hij zijn kinderen voorlas. Dit boek lijkt het beginpunt te zijn geweest voor Margaretha’s literaire interesse. In navolging van haar vader – hij had Deens geleerd door middel van vergelijkende bijbelstudies – begon Margaretha zichzelf op zeventienjarige leeftijd Deens te leren met behulp van een Deense grammatica en andere Scandinavische boeken die ze in de bibliotheek van haar vader had gevonden. De dominee van de Noorse Zeemanskerk hielp haar met de uitspraak.2 Al snel begon Meyboom ook vertalingen te maken van verhalen uit deze boeken, die ze opstuurde naar het dagblad Het Nieuws van den Dag, waar ze als feuilleton werden gepubliceerd. Zo werd de vertaalster geboren. Vermoedelijk is haar eerste gepubliceerde vertaling “Filia maris” van de Deen Johanne Schjørring (1836-1910) in 1880. Meybooms eerste vertalingen verschenen onder het pseudoniem Urda (een van de Noordse godinnen van het lot). Vanaf het moment dat ze hele boeken begon te vertalen – in 1891 als eerste Judas van Tor Hedberg (1862-1931) – publiceerde ze onder haar eigen naam. In totaal heeft Meyboom meer dan vijftig werken van Scandinavische auteurs vertaald. Met uitzondering van de Zweedse Selma Lagerlöf (1858-1940) en Tor Hedberg (1862-1931), waren dit Deense en Noorse auteurs, onder wie de Noren Bjørnstjerne Bjørnson (1832-1910), Henrik Ibsen (1828-1906), Knut Hamsun (1860-1952), Alexander Kielland (1849-1906), Arne Garborg (1851-1924), de Denen Carl Ewald (1856-1908), Adda Ravnkilde (1862-1883), en vele anderen. Ze liet het Nederlandse publiek kennismaken met de moderne literaire en sociale ideeën van Scandinavische schrijvers zoals Ibsen, Bjørnson en Lagerlöf.

scholarly journals BEGJÆRET ETTER BERGETS DYP OG FJELLETS TINDER: OM SIDER VED DET DIKTERISKE FUNDAMENT HOS IBSEN OG HAMSUN

Nordlit ◽  
2016 ◽  
Author(s):  
Even Arntzen
Keyword(s):  
Vertical Movement ◽  
Henrik Ibsen ◽  
Modern World ◽  
Knut Hamsun

Even though Knut Hamsun stubbornly denied it, all his life he had a strong and ambivalent interest for Henrik Ibsen. Quite well known are Hamsun's many attacks on Ibsen in articles and lectures, letters and novels. Less known is that there are several coinciding (intertextual) motifs between Ibsen and Hamsun. In several of Ibsen's plays and poems the mountain motif is associated with poetic vocation and a descent and entry into an enclosed world of fantasy and imagination. The mountain motif is for sure attached to a form of penetration into a supernatural and demonic underworld, but also related to an upward and vertical movement, towards light, air and literary clarity. One finds strong traces of this double Ibsenian movement also in Hamsun's authorship, for example in the novels Pan and In Wonderland. But Hamsun seems to exceed Ibsen: in Hamsun's literary universe, the mountain motif is also linked to a revitalized dream of happiness, joy and an existential demand of exceeding oneself in the direction of a more authentic way of being human in the modern world.

scholarly journals Claudio Magris e il mondo nordico. Uno scambio fecondo

2021 ◽  
pp. 135-150
Author(s):  
Sara Culeddu
Keyword(s):  
Reference Point ◽  
Henrik Ibsen ◽  
Current Article ◽  
Relationship Of ◽  
Knut Hamsun ◽  
Meaningful Role

The current article is aimed to outline a first review of the solid relationship of Claudio Magris with the Nordic world, both from the perspective of his reception in Denmark, Norway and Sweden and from the study of his fecund encounter with the works of authors like Henrik Ibsen, Knut Hamsun, Bjørnstjerne Bjørnson, Jens Peter Jacobsen, Herman Bang and others. These authors, whose works were partially translated by Magris, eventually played a meaningful role in his own writing. Besides affirming himself as a relevant voice in the Scandinavian context, his work as a mediator for Nordic literature has made him a reference point for Scandinavian studies in our country.

scholarly journals Images of 19th century Sweden and Norway in the works Gösta Berling’s Saga by Selma Lagerlöf and Children of the Age by Knut Hamsun

2015 ◽  
Vol 7 (1) ◽  
pp. 91-104
Author(s):  
Crina Leon
Keyword(s):  
19Th Century ◽  
Nobel Prize ◽  
Writing Style ◽  
Northern Norway ◽  
The Real ◽  
New Realism ◽  
Modern Times ◽  
Nobel Prize Laureates ◽  
Knut Hamsun ◽  
Selma Lagerlof

The present paper tries to depict how Sweden and Norway were represented in the novels Gösta Berling’s Saga (1891) and Children of the Age (1913) written by the two Scandinavian Nobel Prize laureates, Selma Lagerlöf and Knut Hamsun, respectively. We will especially focus on the regions Värmland (in west central Sweden) and Nordland (in northern Norway). These two counties represent in fact the areas where Lagerlöf and Hamsun grew up and which they knew very well. Lagerlöf’s story renders an area of mansion houses and ironworks from 1820, while Hamsun’s novel dealing with the Segelfoss estate at a moment around 1870 depicts a society in change from old practices to modern times. Despite some supernatural elements in Gösta Berling’s Saga, the two novels contribute to a geographical, social and economic identification with the regions under consideration. We thus find ourselves in front of two concentrated areas which resemble the real ones although the writing style of the authors is quite different, namely a neo-romantic way of writing with Lagerlöf versus Norwegian new realism with Hamsun.

scholarly journals Knut Hamsun between cultural Germany and political Germany

2014 ◽  
Vol 6 (2) ◽  
pp. 53-61 ◽  
Author(s):  
Crina Leon
Keyword(s):  
World War Ii ◽  
National Socialism ◽  
World Literature ◽  
Henrik Ibsen ◽  
World War ◽  
Complex Figure ◽  
German Nation ◽  
Wide Readership ◽  
Knut Hamsun ◽  
Nobel Prize Laureate

Knut Hamsun (1859-1952) is a Norwegian writer who managed to win a place in world literature by the side of the playwright Henrik Ibsen. Hamsun was a complex figure: he was the Nobel Prize laureate in Literature of 1920 but he was also charged with treason after World War II; he wrote stories drawn from Nordland (in Northern Norway), but he also supported National Socialism. That is why, we will make a distinction between culture and politics, between Hamsun as a literary writer and Hamsun as the author of a series of articles in favour of the Nazis. Beyond the controversial side of his life, which started in the 1930s, our aim is to analyze the role Germany played on the cultural side. Germany was the first country where Hamsun became a successful writer in the 1890s due to a wide readership and the support of the publisher Albert Langen, among others. In turn, Hamsun was an admirer of German culture and of the German nation that gained power in the 20th century.

scholarly journals Arctic Drama to Sámi Theatre – Cultural Clashes Towards Decolonisation: In Shared Dialogic Spaces

2021 ◽  
Vol 17 (1) ◽  
pp. 93-100
Author(s):  
Knut Ove Arntzen
Keyword(s):  
Indigenous People ◽  
Henrik Ibsen ◽  
Reindeer Herding ◽  
Close Relationship ◽  
Theatrical Strategies ◽  
Knut Hamsun ◽  
Vast Area

Summary This article deals with the concept of Arctic Drama, which is about how there is a relationship between drama and cultural clashes in the perspective of shared cultures in the northern Scandinavian area, which is defined as arctic in the geographical sense. In this vast area the Sámi people historically and to the present day have been living from reindeer herding in a nomadic lifestyle, giving them a close relationship to nature. Norwegians and Swedes colonised this area historically, especially the coast for fishing.There have been strong cultural clashes since the Viking ages, but colonisation mainly started later by introducing Christianity by force in the 16th century. Since the Romantic age, these ethno-cultural clashes have been reflected in drama and theatre, and some plays by Henrik Ibsen and Knut Hamsun echo these tensions. An independent theatre of the Sámi people as well as of other indigenous people in Greenland and Canada, like the Inuits, would also develop some theatrical strategies based in a dramaturgy that could be described as a “spiral dramaturgy”. Cultural independence has contributed to a decolonisation process, contributing to even out the cultural clashes in theatre and drama, which could be defined as postcolonial towards decolonisation. This article focuses on the area of arctic Scandinavia.

Of Nils and Nation: Selma Lagerlöf'sThe Wonderful Adventures of Nils

2008 ◽  
Vol 1 (2) ◽  
pp. 168-186 ◽  
Author(s):  
BJÖRN SUNDMARK
Keyword(s):  
Natural Resources ◽  
Ethnic Groups ◽  
School System ◽  
The State ◽  
Social Classes ◽  
State School ◽  
Linguistic Differences ◽  
Vested Interests ◽  
National Ideology ◽  
Selma Lagerlof

Recently past its centenary, The Wonderful Adventures of Nils (1906–7), by Selma Lagerlöf, has remained an international children's classic, famous for its charm and magical elements. This article returns to read the book in its original contexts, and sets out to demonstrate that it was also published as a work of instruction, a work of geography, calculated to build character and nation. Arguing that it represents the vested interests of the state school system, and the national ideology of modern Sweden, the article analyses Nils's journey as the production of a Swedish ‘space’. With a focus on representations of power and nationhood in the text, it points to the way Lagerlöf takes stock of the nation's natural resources, characterises its inhabitants, draws upon legends and history, and ultimately constructs a ‘folkhem’, where social classes, ethnic groups and linguistic differences are all made to contribute to a sense of Swedish belonging and destiny.

Rewriting Ibsen for the big screen

2021 ◽  
Vol 11 (2) ◽  
pp. 177-193 ◽  
Author(s):  
Audun Engelstad
Keyword(s):  
Silent Film ◽  
Film Adaptations ◽  
Henrik Ibsen ◽  
Hollywood Cinema ◽  
Contemporary Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.

Sign in / Sign up

Export Citation Format

Share Document