Academic literature on the topic 'Political poetry, Norwegian'

CONTENTS I. PROBLEMS AND SOLUTIONSMichał Mazurkiewicz (Poland). Sport versus Religion... 11Natalia А. Kuzmina (Russia). Poetry Book as a Supertext... 19Jonė Grigaliūnienė (Lithuania). Possessive Constructions as a Purely Linguistic Phenomenon?... 31 II. FACTS AND REFLECTIONSAleksandras Krasnovas, Aldona Martinonytė (Lithuania). Symbolizing of Images in Juozas Aputis Stories...40Jūratė Kumetaitienė (Lithuania). Tradition and Metamorphosis of Escapism (Running “from” or “into”) in the Modern and Postmodern Norwegian Literature...51Natalia V. Kovtun (Russia). Trickster in the Vicinity of Traditional Modern Prose...65Pavel S. Glushakov (Latvia). Semantic Processes in the Structure of Vasily Shukshin’s Poetics...81Tatyana Kamarovskaya (Belarus). Adam and the War...93Virginija Paplauskienė (Lithuania). Woman’s Language World in Liune Sutema’s Collection “Graffiti....99Jolanta Chwastyk-Kowalczyk (Poland). The Models of e-Comunication in the Polish Society of Britain and Northern Ireland...111Vilma Bijeikienė (Lithuania). How Equivocation Depends on the Way Questions are Asked: a Study in Lithuanian Political Discourse...123Viktorija Makarova (Lithuania). The One Who Names the Things, Masters Them: Ruskij vs. Rosijanin, Ruskij vs. Rosijskij in the Discourse of Russian Presidents...136Dorota Połowniak-Wawrzonek (Poland). Idioms from the Saga Film “Star Wars” in Contemporary Polish Language...144Ilona Mickienė, Inesa Birbilaitė (Lithuania). Women’s Naming in Telsiai Parish in the First Dacades of the 18th Century...158Liudmila Garbul (Lithuania). Reflection of Results of Interslavonic Language Contacts in the Russian Chancery Language of the First Half of the 17th Century (Synchronic and Diachronic Aspects). Part II...168Vilhelmina Vitkauskienė (Lithuania). Francophonie in Lithuania... 179Natalia V. Yudina (Russia). On the Role of the Russian Language in the Globalizing World of the XXI Century...189Maria Lojko (Belarus). Teaching Legal English to English Second Language Students in the US Law Schools...200 III. OPINIONElena V. Savich (Belarus). On Generation of an Integrative Method of Discourse Analysis...212Marek Weber (Poland). Lexical Analysis of Selected Lexemes Belonging to the Semantic Field ‘Computer Hardware’...220 IV. SCIENTISTS ABOUT SCIENTISTSOleg Poljakov (Lithuania). On the Female Factor in Linguistics and Around It... 228 V. OUR TRANSLATIONSBernard Sypniewski (USA). Snake in the Grass. Part II. Translated by Jurga Cibulskienė...239 VI. SCIENTIFIC LIFE CHRONICLEConferencesTatiana Larina (Russia), Laura Alba-Juez (Spain). Report and reflections of the 2010 International Conference on Intercultural Pragmatics and Communication in Madrid...246Books reviewsAleksandra M. Ponomariova (Russia). ЧЕРВИНСКИЙ, П. П., 2010. Номинативные аспекты и следствия политической коммуникации...252Gabija Bankauskaitė-Sereikienė (Lithuania). PAPLAUSKIENĖ, V., 2009. Liūnė Sutema: gyvenimo ir kūrybos keliais...255Yuri V. Shatin (Russia). Meaningful Curves. ГРИНБАУМ, О. Н., 2010. Роман А.С. Пушкина «Евгений Онегин»: ритмико-смысловой комментарий... 259Journal of scientific lifeDaiva Aliūkaitė (Lithuania). The Idea of the Database of Printed Advertisements: the Project “Sociolinguistics of Advertisements”...263Loreta Vaicekauskienė (Lithuania). The Project “Vilnius is Speaking: The Role of Vilnius Language in the Contemporary Lithuania, 2010”...265Daiva Aliūkaitė (Lithuania). The Project “Lithuanian Language: Fractures of Ideals, Ideologies and Identities”: Language Ideals from the Point of View of Ordinary Speech Community Members...267 Announce...269 VII. REQUIREMENTS FOR PUBLICATION...270 VIII. OUR AUTHORS...278

The Young Grundtvig and NorwayBy Gustav AlbeckThis article is a revised and extended version of the lecture given by Professor Albeck on April 30th 1984 at the annual general meeting of the Grundtvig Society in Oslo. It describes Grundtvig’s close relationship to a number of Norwegian friends he made during his residence at the Walkendorf hostel in Copenhagen in the years 1808-11; this circle of friends lasted and widened to include other Norwegians in his later life.Grundtvig was 67 before he set foot on Norwegian soil, but from his early youth he had familiarised himself with the Norwegian landscape and history through Norwegian literature. His feeling of kinship with the spirit and history of Norway was for a time stronger than his consciousness of being Danish. In his youth Norway and the Norwegians played a major role in opinion-making in Denmark, and in this respect Grundtvig was no different from his contemporary Danes. But the idea of Norway’s future continued to concern him long after his youth was over. The lecture, however, confines itself to the way certain Norwegians regarded Grundtvig between 1808 and 1811.When Grundtvig returned to Copenhagen from Langeland in 1808 he had no friends in the capital. But at the Walkendorf hostel he met first and foremost Svend B. Hersleb, a Norwegian theologian, to whom he addressed a jocular poem in the same year, revealing that Grundtvig now felt himself young again and among young people following his unrequited passion for Constance Leth. Otherwise we have only a few witnesses to this first period of happiness, with Grundtvig gaining a foothold on the Danish parnassus through his first Norse Mythology and Scenes from Heroic Life in the North.The fullest accounts of Grundtvig’s relationship to the Norwegians in the period following his nervous breakdown and religious breakthrough in 1810 come from the journals of the Norwegian-Danish dean and poet, Frederik Schmidt, made during various trips to Denmark. These journals were published in extenso between 1966 and 1985 in three volumes, the last of which includes a commentary by the editors and a postscript by Gustav Albeck. Many of the valuable notes about Grundtvig are repeated in the lecture. Frederik Schmidt was the son of a Norwegian bishop; he became a rural dean and later a member of the first National Assembly at Eids voll in 1814. He was a Norwegian patriot but loyal to the Danes and in fact returned to Denmark in 1820. His descriptions of Grundtvig’s conversations with Niels Treschow, the Norwegian-born Professor of Philosophy at Copenhagen University, give an authentic and concentrated picture of Grundtvig’s reflections on his conversion to a strict Lutheran faith, which for a time threatened to hinder his development as a secular writer. Schmidt found their way of presenting their differing views “very interesting and human”, and Grundtvig’s Christian faith “warm, intense and sincere”. “In the animated features of his dark eyes and pale face there is something passionate yet also gentle”. When Schmidt himself talked to Grundtvig about a current paper which stated that in early Christianity there was a fusion between Greek thought and oriental feeling, Grundtvig exclaimed, “Yet another Christianity without Christ!” A draft of a reply to one of Schmidt’s articles shows that at that point, April 1811, Grundtvig did not believe in the working of “the living word” in its secular meaning. The draft was not printed and Grundtvig does not appear to have discussed it with Schmidt. There is a very precise description of Grundtvig’s appearance: “There is... something confused in his eyes; he sometimes closes them after a tiring conversation, as if he wants to pull his thoughts together again.” Schmidt in no way agrees with Grundtvig’s point of view, which he partly puts down to “disappointed hopes, humbled pride and the persecution... he has been subjected to...” But he does find another important explanation in Grundtvig’s “need for reassuring knowledge” and his conviction “that the misery of the age can only be helped by true religious feeling”.There are also descriptions of Grundtvig in a more jovial mood, for example together with Professor George Sverdrup, where Grundtvig repeated some rather unflattering accounts of the playwright Holberg’s behaviour towards a couple of professors who were colleagues. The same evening he and Schmidt set about attacking Napoleon while Treschow and Sverdrup defended him. Schmidt considered Grundtvig’s little book, New Year’s Eve, “devout to the point of pietist sentiment”, but thought the error lay rather in Grundtvig’s head than his heart. Lovely is the Clear Blue Night (Dejlig er den himmel blaa), published in April 1811 was even read aloud by Schmidt to a woman poet; but he criticised The Anholt-Campaign.After 1814 Schmidt adopted a somewhat cooler tone towards Grundtvig’s books. He was unable to go along with Grundtvig’s talk of a united Denmark- Norway as his fatherland. He criticised the poems Grundtvig published in his periodical, Danevirke, including even The Easter Lily for its “vulgar language”, which Grundtvig appeared to confuse with a true “language of power”. It is impossible to prove any close relationship between Schmidt and Grundtvig, but he was an attentive observer when they met in Copenhagen in 1811.With the opening of the Royal Frederik University in Christiania in 1813 Grundtvig became separated from his Norwegian friends, as Hersleb, Treschow and Sverdrup were all appointed to the new Norwegian university. They were keen for Grundtvig to join them as Professor of History. Sverdrup in particular was captivated by his personality, and in a letter dated April 21st 1812 he informed Grundtvig that he was among the candidates for the post proposed by the commission to the King. But Grundtvig himself hesitated; he felt “calm and quietly happy” in Udby “as minister for simple Christians”. To his friend, the Norwegian-born Poul Dons, he wrote, “... something in me draws me up there, something keeps me down here.” The fact that he never got the job was in many ways his own fault. His World Chronicle (1812) could not but offend scholars of a rationalist approach, in particular the prediction at the end of the book about the new university’s effect. It is linked to Grundtvig’s interpretation (1810) of the letters to the seven churches in Revelation, which are seen as a prediction of the seven great churches in the historical advance of Christianity.“It was an idea,” says Albeck, “which in spite of its obvious irrationality never left Grundtvig, and as late as 1860 it found poetic form in the great poem, The Pleiades of Christendom (Christenhedens Syvstjerne).” Grundtvig “was in no doubt that the sixth church was the Nordic, and that it would grow out of the Norwegian university, the new Wittenberg.” In 1810 Grundtvig felt himself “chosen to be the forerunner of a new reformer, a new Johan Huss before a new Luther.” From a scholarly point of view there is no reason to reproach the Danish selection panel for the negative judgment they reached regarding Grundtvig’s qualifications as a historian. His name was not even mentioned in the appointments for the new professorships. He had caused quite a stir not long before by writing a birthday poem for the King in which he directly expressed his wish that the new university might become a Wittenberg. The poem took the form of a series of accusations against Norway and the Norwegians, and in particular against Nicolai Wergeland, who in a prize-winning essay on the Norwegian university entitled Mnemosyne had stuck a few needles into Denmark and the Danes. Grundtvig accused the Norwegians of ingratitude to Denmark and unchristian pride. Even his good friend Hersleb reacted to such an attack.From the diaries of the Norwegian, Claus Pavels, we know how the Norwegian poet, Jonas Rein, wrote and told Grundtvig that “a greater meekness towards people with a different opinion would be more fitting for a teacher of Christianity.” Grundtvig replied that he had had to speak the truth loud and clear in a degenerate age. The Bishop of Bergen, Nordal Brun, also considered Grundtvig’s views as expressed to the King “misplaced and insulting”. He was particularly hurt that Norway “should have to thank Denmark for its Christianity and protestantism”. When Grundtvig printed the poem in Little Songs (Kv.dlinger) in 1815, Nicolai Wergeland was moved to write Denmark’s Political Crimes against the Kingdom of Norway, published in 1816.For Grundtvig’s Norwegian friends it was a matter of regret that he did not come to Norway, not least for Stener Stenersen, who in 1814 became a lecturer and in 1818 a professor of theology at the Norwegian university. His correspondence with Grundtvig from 1813 is now regarded as a valuable source for Grundtvig’s view of Christianity at that time. In his diary entry for August 27th 1813 Pavels notes that Stenersen had proposed that the Society for the Wellbeing of Norway should use all its influence to get Grundtvig to Norway. In his proposition Stenersen asked who possessed such unity and purity of thought as to be able to understand fully the importance of scholarship; he himself had only one candidate - Grundtvig. From a contemporary standpoint he had won his way to the Christian faith. But the rationalist Pavels, the source of our information, was far from convinced that “no man in the whole of Norway” possessed these abilities in equal measure to Grundtvig”. He therefore had misgivings about “requesting him as Norway’s last and only deliverer”.When Grundtvig heard of Stenersen’s proposition he sought an audience with the King on September 8th at which he clearly expressed his desire to become Professor of History at the Norwegian University. Two Danish professors, Børge Thorlacius and Laurids Engelsto. found it strange, however, that Treschow, Sverdrup and Hersleb could “deify Grundtvig”. And his great wish was never fulfilled. Nonetheless he did not give up. On November 15th he saw that the post of curate was being advertised at Aggers church near Christiania and applied for the job. From his book Roskilde Rhymes (published on February 1st 1814) it is clear that he believed that it was there that his great work was to be accomplished. But in those very days Frederik VI was signing the peace of Kiel which would separate Norway from Denmark, and Grundtvig from his wish.In the preface to Danevirke (dated May 1817) he realised that he had deserved the scorn of the Norwegians, for he had expected too much of them. But he never forgot his Norwegian friends. He named one of his sons after Svend Hersleb, and another son married Stenersen’s daughter. When he himself visited Norway in 1851 he was welcomed like a prince.

In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein Bugge, who also wrote comedies of the grotesque kind. The article also gives examples of the cabaret culture in the arctic, exemplified by popular revues with participation from traveling directors like the Jewish Salomon Schotland. One can basically speak of a revolutionary avant-garde also, using amateur theatre like in the work of Olav Dalgard. This avant-garde would by the 1950s be followed up by dramatic writers like Tarjei Vesaas and Georg Johannessen, preparing the way for new tendencies of cabaret and laboratory theatre, like ‘Odin Teatret’, founded in Oslo in 1964. The fact that ‘Odin Teatret’ after a couple of years left Norway for Denmark, represented a temporary halt for Norwegian avant-garde until a new social oriented and performative avant-garde came about in the 1970s.

Historically the impact of the printing press on Western culture is a truism. Print gave rise to the mass reproduction and circulation of information with wide reaching consequences in all fields: political, social, and economic. An aspect that this paper wishes to focus on is that this moment also saw the birth (and necessity) of copyright legislation, to administer and protect this new found ability to package and disseminate text. The term copyright itself, used freely in debates surrounding contemporary topics such as iTunes, DVD piracy, and file-sharing, is not only semantically anachronistic but, as will be shown, is an anachronistic problem. The history that it carries, through almost three hundred years, underscores the difficulties at the heart of copyright in the contemporary scene. Indeed the reliance on copyright in these debates creates an argument based on circular definitions relating to only the statutory conception of cultural rights. No avenue is really left to imagine a space outside its jurisdiction. This paper asserts that notions of the “culture industry” (as opposed to some other conception of culture) are also inherently connected to the some three hundred years of copyright legislation. Our conceptions of the author and of intellectual pursuits as property can also be traced within this relatively small period. As clarified by Lord Chief Baron Pollock in the English courts in 1854, “copyright is altogether an artificial right” that does not apply at common law and relies wholly on statute (Jeffreys v Boosey). Foucault (124-42) highlights, in his attack on Romantic notions of the author-genius-God, that the author-function is expressed primarily as a legal term, through the legal concepts of censorship and copyright. Copyright, then, pays little attention to non-economic interests of the author and is used primarily to further economic interests. The corporate nature of the culture industry at present amounts to the successful application of copyright legislation in the past. This paper suggests that we look at our conception of literary and artistic work as separate from copyright’s own definitions of intellectual property and the commercialisation of culture. From Hogarth to File-Sharing The case of ‘DVD Jon’ is instructive. In 1999, Jon Lech Johansen, a Norwegian programmer, drew the ire of Hollywood by breaking the encryption code for DVDs (in a program called DeCSS). More recently, he has devised a program to circumvent the anti-piracy system for Apple’s iTunes music download service. With this program, called PyMusique, users still have to pay for the songs, but once these are paid for, users can use the songs on all operating systems and with no limits on copying, transfers or burning. Johansen, who publishes his wares on his blog entitled So Sue Me, was in fact sued in 1999 by the Motion Picture Association of America (MPAA) for copyright infringement. He argued that he created DeCSS as part of developing a DVD player for his Linux operating system, and that copying DVD movies was an ancillary function of the program for which he could not be held responsible. He was acquitted by an Oslo district court in early 2003 and again by an appeals court later that year. During this time many people on the internet found novel ways to publish the DeCSS code so as to avoid prosecution, including many different code encryptions incorporated into jpeg images (including the trademarked DVD logo, owned by DVD LLC) and mpeg movies, as an online MUD game scenario, and even produced in the form of a haiku (“42 Ways to Distribute DeCSS”). The ability to publish the code in a format not readily prosecutable owes less to encryption and clandestine messages than it does to anachronistic laws regarding the wholly legal right to original formats. Prior to 1709, copyright or licensing related to the book publishing industry where the work as formatted, pressed and disseminated was more important to protect than the text itself or the concept of the author as the writer of the text. Even today different copyrights may be held over the different formatting of the same text. The ability for hackers to attack the copyright legislation through its inherent anachronism is more than smart lawyering or a neat joke. These attacks, based on file sharing and the morphing fluid forms of information (rather than contained text, printed, broadcast, or expressed through form in general), amount to a real breach in copyright’s capability to administer and protect information. That the corporations are so excited and scared of these new technologies of dissemination should come as no surprise. It should also not be seen, as some commentators wish to, as a completely new approach to the dissemination of culture. If copyright was originally intended to protect the rights of the publisher, the passing of the Act of Anne in 1709 introduced two new concepts – an author being the owner of copyright, and the principle of a fixed term of protection for published works. In 1734, William Hogarth, wanting to ensure profits would flow from his widely disseminated prints (which attracted many pirate copies), fought to have these protections extended to visual works. What is notable about all this is that in 1734 the concept of copyright both in literary and artistic works applied only to published or reproduced works. It would be over one hundred years later, in the Romantic period, that a broader protection to all artworks would be available (for example, paintings, sculpture, etc). Born primarily out of guild systems, the socio-political aspect of protection, although with a passing nod to the author, was primarily a commercial concern. These days the statute has muddied its primary purpose; commercial interest is conflated and confused with the moral rights of the author (which, it might be added, although first asserted in the International Berne Convention of 1886 were only ratified in Australia in December 2000). For instance, in a case such as Sony Entertainment (Australia) Ltd v Smith (2005), both parties in fact want the protection of copyright. On one day the DJ in question (Pee Wee Ferris) might be advertising himself through his DJ name as an appropriative, sampling artist-author, while at the same time, we might assume, wishing to protect his own rights as a recording artist. Alternatively, the authors of the various DeCSS code works want both the free flow of information which then results in a possible free flow of media content. Naturally, this does not sit well with the current lords of copyright: the corporations. The new open-source author works contrary to all copyright. Freed Slaves The model of the open source author is not without precedent. Historically, prior to copyright and the culture industry, this approach to authorship was the norm. The Roman poet Martial, known for his wit and gifts of poetry, wrote I commend to you, Quintianus, my little books – if I can call them mine when your poet recites them: if they complain of their harsh servitude, you should come forward as their champion and give your guarantees; and when he calls himself their master you should say they are mine and have been granted their freedom. If you shout this out three or four times, you will make their kidnapper (plagiario) feel ashamed of himself. Here of course the cultural producer is a landed aristocrat (a situation common to early Western poets such as Chaucer, Spencer and More). The poem, or work, exists in the economy of the gift. The author-function here is also not the same as in modern times but was based on the advantages of reputation and celebrity within the Roman court. Similarly other texts such as stories, songs and music were circulated, prior to print, in a primarily oral economy. Later, with the rise of the professional guild system in late medieval times, the patronage system did indeed pay artists, sometimes royal sums. However, this bursary was not so much for the work than for upkeep as members of the household holding a particular skill. The commercial aspect of the author as owner only became fully realised with the rise of the middle classes in the eighteenth and nineteenth century and led to the global adoption of the copyright regime as the culture industry’s sanction. Added to this, the author is now overwhelmingly a corporation, not an individual, which has expanded the utilisation of these statutes for commercial advantage to, perhaps, an unforeseen degree. To understand the file-sharing period, which we are now entering at full speed, we cannot be confused by notions found in the copyright acts; definitions based on copyright cannot adequately express a culture without commercial concerns. Perhaps the discussion needs to return to concepts that predate copyright, before the author-function (as suggested by Foucault) and before the notion of intellectual property. That we have returned to a gift economy for cultural products is easily understood in the context of file-sharing. But what of the author? Here the figure of the hacker suggests a movement towards such an archaic model where the author’s remuneration comes in the form of celebrity, or a reputation as an exciting innovator. Another model, which is perhaps more likely, is an understanding that certain material disseminated will be sold and administered under copyright for profit and that the excess will be quickly and efficiently disseminated with no profit and with no overall duration of protection. Such an amalgamated approach is exemplified by Radiohead’s Kid A album, which, although available for free downloads, was still profitable because the (anachronistic) printed version, with its cover and artwork, still sold by the millions. Perhaps cultural works, the slaves of the author-corporation, should be granted their freedom: freedom from servitude to a commercial master, freedom to be re-told rather than re-sold, with due attribution to the author the only payment. This is a Utopian idea perhaps, but no less a fantasy than the idea that the laws of copyright, born of the printing press, can evolve to match the economy today that they purport to control. When thinking about ownership and authorship today, it must be recalled that copyright itself has a history of useful fictions. References Michel Foucault; “What Is an Author?” Twentieth-Century Literary Theory. Eds. Vassilis Lambropoulos and David Neal Miller. Albany: State UP of New York, 1987. 124-42. “42 Ways to Distribute DeCSS.” 5 Jun. 2005 http://decss.zoy.org/>. Jeffreys v Boosey, 1854. Johansen, Jon Lech. So Sue Me. 5 Jun. 2005 http://www.nanocrew.net/blog/>. Citation reference for this article MLA Style Phillips, Dougal, and Oliver Watts. "Copyright, Print and Authorship in the Culture Industry." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/06-phillipswatts.php>. APA Style Phillips, D., and O. Watts. (Jun. 2005) "Copyright, Print and Authorship in the Culture Industry," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/06-phillipswatts.php>.

This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kind of culture has been covered, or what kind of culture has been represented. Forms of culture are sometimes also called artistic or cultural disciplines (Jaakkola, 2015) or cultural genres (Purhonen et al., 2019), and cultural classification (Janssen et al., 2011) or cultural hierarchy (Schmutz, 2009). The level of detail varies from study to study, according to the need of knowledge, with some scholars tracing forms of subculture (Schmutz et al., 2010), while others just identify the overall development of major cultural forms (Purhonen et al., 2019; Jaakkola, 2015a). The concepts of culture can roughly be defined as being dominated by high cultural, popular cultural, or everyday cultural forms (Kristensen, 2019). While most culture sections in newspapers are dominated by high culture, and the question is rather about which disciplines, in the operationalization it is not always easy to draw lines between high and popular forms in the postmodern cultural landscape where boundaries are being blurred. Nevertheless, the major forms of culture in the journalistic operationalization of culture are literature, classical music, theatre, and fine arts. As certain forms of culture – such as classical music and opera – are focused on classical high culture, and other forms – such as popular music and comics – represent popular forms, distribution of coverage according to cultural forms may indicate changes in the cultural concept. Field of application/theoretical foundation The question of the concept of culture is a standard question in content analyses on arts and cultural journalism in daily newspapers and cultural magazines, posed by a number of studies conducted in different geographical areas and often with a comparative intent (e.g., Szántó et al., 2004; Janssen, 1999; Reus & Harden, 2005; Janssen et al., 2008; Larsen, 2008; Kõnno et al., 2012; Jaakkola, 2015a, 2015b; Verboord & Janssen, 2015; Purhonen et al., 2019; Widholm et al., 2019). The essence of culture has been theorized in cultural studies, predominantly by Raymond Williams (e.g., 2011), and sociologists of art (Kroeber & Kluckhohn, 1952). In studying journalistic coverage of arts and culture, the concept of culture reveals the anatomy of coverage and whether the content is targeting a broader audience (inclusive concept of culture) or a narrow audience (exclusive or elitist concept of culture). A prevalent motivation to study the ontological dimension of cultural coverage is also to trace cultural change, which means that the concept of culture is longitudinally studied (Purhonen et al., 2019). References/combination with other methods of data collection Concept of culture often occurs as a variable to trace cultural change. The variable is typically coupled with other variables, mainly with representational means, i.e., the journalistic genre (Jaakkola, 2015), event type (Stegert, 1998), or author gender (Schmutz, 2009; Jaakkola, 2015b). Quantitative content analyses may also be complemented with qualitative analyses (Purhonen et al., 2019). Sample operationalization Cultural forms are separated according to the production structure (journalists and reviewers specializing in one cultural form typically indicate an increase of coverage for that cultural form). At a general level, the concept of culture can be divided into the following cultural forms: literature, music – which is, according to the newsroom specialization typically roughly categorized into classical and popular music – visual arts, theatre, dance, film, design, architecture and built environment, media, comics, cultural politics, cultural history, arts education, and other. Subcategories can be separated according to the interest and level of knowledge. The variable needs to be sensitive towards local features in journalism and culture. Example study Jaakkola (2015b) Information about Jaakkola, 2015 Author: Maarit Jaakkola Research question/research interest: Examination of the cultural concept across time in culture sections of daily newspapers Object of analysis: Articles/text items on culture pages of five major daily newspapers in Finland 1978–2008 (Aamulehti, Helsingin Sanomat, Kaleva, Savon Sanomat, Turun Sanomat) Timeframe of analysis: 1978–2008, consecutive sample of weeks 7 and 42 in five year intervals (1978, 1983, 1988, 1993, 1998, 2003, 2008) Info about variable Variable name/definition: Concept of culture Unit of analysis: Article/text item Values: Cultural form Description 1. Fiction literature Fiction books: fictional genres such as poetry, literary novels, thrillers, detective novels, children’s literature, etc. 2. Non-fiction literature Non-fiction books: non-fictional genres such as textbooks, memoirs, encyclopedias, etc. 3. Classical music Music of more high-cultural character, such as symphonic music, chamber music, opera, etc. 4. Popular music Music of more popular character, such as pop, rock, hip-hop, folk music, etc. 5. Visual arts Fine arts: painting, drawing, graphical art, sculpture, media art, photography, etc. 6. Theatre Scene art, including musicals (if not treated as music, i.e. in coverage of concerts and albums) 7. Dance Scene art, including ballet (if not treated as music, .e. in coverage of concerts and albums) 8. Film Cinema: fiction, documentary, experimental film, etc. 9. Design Design of artefacts, jewelry, fashion, interiors, graphics, etc. 10. Architecture Design, aesthetics, and planning of built environment 11. Media Television, journalism, Internet, games, etc. 12. Comics Illustrated periodicals 13. Cultural politics Policies, politics, and administration concerning arts and culture in general 14. Cultural history Historical issues and phenomena 15. Education Educational issues concerning different cultural disciplines 16. Other Miscellaneous minor categories, e.g., lifestyle issues (celebrity, gossip, everyday cultural issues), and larger categories developed from within the material can be separated into values of their own Scale: nominal Intercoder reliability: Cohen's kappa > 0.76 (two coders) References Jaakkola, M. (2015a). The contested autonomy of arts and journalism: Change and continuity in the dual professionalism of cultural journalism. Tampere: Tampere University Press. Jaakkola, M. (2015b). Outsourcing views, developing news: Changes of art criticism in Finnish dailies, 1978–2008. Journalism Studies, 16(3), 383–402. Janssen, S. (1999). Art journalism and cultural change: The coverage of the arts in Dutch newspapers 1965–1990. Poetics 26(5–6), 329–348. Janssen, S., Kuipers, G., & Verboord, M. (2008). Cultural globalization and arts journalism: The international orientation of arts and culture coverage in Dutch, French, German, and U.S. newspapers, 1955 to 2005. American Sociological Review, 73(5), 719–740. Janssen, S., Verboord, M., & Kuipers, G. (2011). Comparing cultural classification: High and popular arts in European and U.S. elite newspapers. Kölner Zeitschrift für Soziologie und Sozialpsychologie, 63(51), 139–168. Kõnno, A., Aljas, A., Lõhmus, M., & Kõuts, R. (2012). The centrality of culture in the 20th century Estonian press: A longitudinal study in comparison with Finland and Russia. Nordicom Review, 33(2), 103–117. Kristensen, N. N. (2019). Arts, culture and entertainment coverage. In T. P. Vos & F. Hanusch (Eds.), The international encyclopedia of journalism studies. Wiley-Blackwell. Kroeber, A. L., & Kluckhohn, C. (1952). Culture: A critical review of concepts and definitions. Meridian Books. Larsen, L. O. (2008). Forskyvninger. 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This chapter uses Lincoln’s critical analysis of myth to examine various medieval poetic and historiographical accounts of the battle of Hjørung Bay, fought by Danes and Norwegians off the coast of Norway in the late tenth century.. These accounts, which for the most part postdate the battle by some two hundred years, are compared not to reconstruct the event itself but rather to identify the political subtexts embedded in them. It argues that these battle narratives, like cosmogonic myths in other contexts, have played a key ideological role in the construction of social and political identities from the medieval period to the present.

Rather than accepting a particular language as a bounded entity, the UK-based French-Norwegian poet Caroline Bergvall positions her multimedia work Drift within the oceanic fluidities of linguistic and etymological change. Despite the passage over centuries and languages of her main source text, the anonymous Old English poem The Seafarer, the movement of contemporary migrants at sea is brutally constrained. This conflict is an acoustic paradox: if language is already resonant with the echoes of so many transitory pasts, how it can be used to sustain rigid identities and borders? These questions of orientation and direction are posed in relation to acousmatic listening, where the source of a sound is not revealed, as well as through the affordances of collaborative sound and visual performance. Listening becomes a critical process of locating oneself in social, ecological and political contexts.