Relevant bibliographies by topics / Translations from Scandinavian

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Academic literature on the topic 'Translations from Scandinavian'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Translations from Scandinavian"

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Sergeev, Aleksandr. "From the History of Scandinavian Literatures." Stephanos Peer reviewed multilanguage scientific journal 50, no. 6 (November 30, 2021): 44–49. http://dx.doi.org/10.24249/2309-9917-2021-50-6-44-49.

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The paper examines the anthology of Danish and Norwegian classic works of the 19th–20th centuries in different genres – from essays to novels – as well as creative work of living prose-writers and playwrights, little known to the Russian reader, in the translations by one of the most famous Russian translators from the Nordic languages Anatoly Chekansky. His introductory article, in which he acquits readers his assessment of the works presented in the book, highlights the history of their creation and tells about his life experience and translation activities, is also considered.
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Kahn, Lily, and Riitta-Liisa Valijärvi. "The Translation of Hebrew Flora and Fauna Terminology in North Sámi and West Greenlandic fin de siècle Bibles." Bible Translator 70, no. 2 (August 2019): 125–44. http://dx.doi.org/10.1177/2051677019850884.

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This study is a comparative analysis of the strategies employed in the translation of geographically specific flora and fauna terminology in the first complete Hebrew Bible translations into North Sámi (1895) and West Greenlandic (1900). These two contemporaneous translations lend themselves to fruitful comparison because both North Sámi and Greenlandic are spoken in the Arctic by indigenous communities that share a similar history of colonization by Lutheran Scandinavians. Despite this common background, our study reveals a striking difference in translation methods: the North Sámi translation exhibits a systematic foreignizing, formally equivalent approach using loan words from Scandinavian languages (e.g., šakkalak “jackals” from Norwegian sjakaler, granatæbel “pomegranate” from Norwegian granateple), whereas the Greenlandic translation typically creates descriptive neologisms (e.g., milakulâĸ “the spotted one” for “leopard”) or utilizes culturally specific domesticating, dynamically equivalent Arctic terms (e.g., kingmernarssuaĸ “big lingonberry” for “pomegranate”). The article assesses the reasons behind these different translation approaches.
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Csúr, Gábor Attila. "Skandinavien som imago i det ungarske litterære tidsskrift Nyugat (1907/1908–1941): En kritisk læsning af nogle nationale stereotyper og deres efterliv." Scandinavistica Vilnensis 17, no. 1 (July 31, 2023): 119–36. http://dx.doi.org/10.15388/scandinavisticavilnensis.2023.7.

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My study focuses on how national stereotypes characterized the interpretation of Scandinavian literature in the first half of the 20th century in Hungary. In these decades, translation from Danish, Norwegian and Swedish became increasingly intensive, and, thanks to a handful of enthusiastic translators, authors associated with the Modern Breakthrough movement and other late 19th-century tendencies achieved widespread popularity in Hungary. In the analysis I take a closer look at several reviews, translations and essays published in the literary journal Nyugat (1907/1908–1941) where a lot of later prominent Hungarian authors and translators of the period started their career. The imago of Scandinavia created by these authors consists of climatic, anthropological, geographical, political and aesthetic elements. This mythical, distorted and stereotypical image of the Nordic countries exists even today, side by side with a critical reevaluation which actively shapes the academic milieu and the public cultural sphere.
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Storbakken, Jason. "Dhammapada: A Sacred Path toward Liberation from Harm Cycles." Buddhist-Christian Studies 43, no. 1 (2023): 89–107. http://dx.doi.org/10.1353/bcs.2023.a907573.

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abstract: This project began as an interreligious exercise during Lent, a Christian season of increased spiritual practice. What resulted, in part, is this work, a translation and commentary on the Dhammapada (included here: the introduction and translations of three chapters with chapter commentaries). Like the Sermon on the Mount to Christians and the Bhagavad Gita to Hindus, the Dhammapada is considered the heart of Buddhist teaching. Ultimately, this work is a secondary translation or popular interpretation, akin to Thomas Merton's translations of Chuang Tzu and Coleman Bark's translations of Rumi's poetry. And rather than a scholarly translation, this work is a spiritual and devotional interpretation. Among the choices I have made in this translation include gender-inclusive and affirming language, often opting for they/ them pronouns. In chapter intros, I have included resources, brief commentary, and cultural and academic notes that have helped to shape this translation. Such influencers of this translation include Ella Baker, Kendrick Lamar, Bessel van der Kolk, Lama Rod Owens, and others. The next choice I have made, instead of translating the words dukkha and samsara to sorrow/suffering and reincarnation , respectively, I have often translated these terms to harm cycles and generational suffering . My hope is that these terms capture the original meanings while also creating expansive language to hold possibilities for new understandings within Gautama Buddha's teaching. As the translator of this text, it is important to name my twenty-first-century context, influences, and identity as a person raised mostly in the Upper Midwest of the United States and who has lived in Brooklyn, New York, for the past twenty years. This translation is filtered through the lenses of my lived experience, education, social-familial position, economic status, ethnic-cultural and gender identity (as a cis male of Scandinavian-Hutterite descent, who is identified as white ), and multiple other influences. My sources include peace studies, trauma/resilience studies, liberation theology, and more than fifteen years of experience as a spiritual teacher and minister in the Anabaptist tradition (i.e., the historic peace church) of Christianity. It is through these lived experiences that this translation emerges. And, specifically, what has emerged, at least in part, is a trauma aware, liberationist interpretation of the Dhammapada.
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Szelągowska, Krystyna. "O najnowszych nabytkach do badania średniowiecznej historiografii skandynawskiej." Przegląd Humanistyczny, no. 67/3 (March 1, 2023): 109–21. http://dx.doi.org/10.31338/2657-599x.ph.2022-3.8.

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The article discusses recently published Polish translations of important historical works of the Norse and Danish Middle Ages. It considers the original and peculiar features of medieval Scandinavian historiography, as well as the difficulties that authors of translations from the Norn language may face. Mistakes with regard to discussing the early modern realities of the functioning of medieval works are pointed out.
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Grave, Jaap, and Ekaterina Vekshina. "Max Havelaar by Multatuli in Russia: The origins of translations." Scandinavian Philology 19, no. 1 (2021): 176–89. http://dx.doi.org/10.21638/11701/spbu21.2021.111.

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This article is dedicated to the Russian translations of the Dutch novel Max Havelaar or the coffee auctions of the Nederlandsche Handelmaatschappy (1860) by Eduard Douwes Dekker (1820–1887), who published his work under the pseudonym Multatuli. Max Havelaar is one of the best known and most translated works of Dutch literature. There are six complete Russian translations published between 1916 and 1959, which have not yet been analyzed. The authors hypothesize that German is the intermediate language in the Dutch-Russian literary transfer as research has shown that German often served as an intermediate language for translations into Scandinavian and Slavic languages during this period. In the specific case of Max Havelaar, the German translation by Wilhelm Spohr, who moved in circles of anarchists, served as an intermediate text. The authors also investigated whether the Russian translators used the English translation of 1868, but this was not the case. In the first part of this article, the biographies of the Russian translators, authors of forewords and editors who worked on the Russian translations are examined. In the second part, excerpts from the novel are compared with the translations to analyze the relationship between the texts. The results of the research confirm that the first Russian translations were based on Karl Mischke’s German translation, which had appeared almost simultaneously with Spohr’s. Traces of this translation can also be found in later texts. To the authors’ knowledge, it has not been shown before that Mischke’s translation and not Spohr’s was used as an intermediate text.
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Bochaver, Svetlana Yu, and Ekaterina V. Tereshko. "What is a ‘rare’ language in translation? The experience of distance reading." Slovo.ru: Baltic accent 14, no. 3 (2023): 112–24. http://dx.doi.org/10.5922/2225-5346-2023-3-8.

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This article examines the perception of ‘rare’ and ‘common’ languages through literary translations. The study is based on the materials from De Bezige Bij Publishing House in the Netherlands, comparing the periods of 2010—2013 and 2020—2023. A significant increase in the role of translators is reflected in the rise of translation share in the publishing house. There is an observed growth in the number of source languages for translation, with a dec­rease in the proportion of English. Translations from French, Italian, German, Scandinavian languages, Portuguese, and Japanese have emerged. A comparison with the Polyandria Rus­sian Publishing House during the period of 2020—2023 reveals common and distinct source lan­guages. Both publishers translate literature into Danish, Finnish, and French to a similar extent. The Russian publishing house represents Norwegian and Japanese to a greater extent, while the Dutch publishing house releases more translations from German, Swedish, Turkish, and Italian. The Russian publisher also includes Icelandic, Albanian, Korean, and Croatian, while the Dutch publisher includes Hebrew, Romanian, and Portuguese. Both publishers en­com­pass a total of 20 source languages, which is a small number compared to the global lin­guistic diversity. Comparing the volumes of source languages also indicates diffe­ren­ces in pre­ferences. Central European languages are chosen in the Netherlands, while Nor­wegian and Ice­landic are favored in Russia. These differences may be influenced by the cost of rights to works, editorial preferences, and translator availability. The analysis results indicate that neither typological similarity between the source language and the target language, nor association with a specific language group, influences the preference for translating books from a particular language. This highlights the importance of sociocultural factors.
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Valente, Anabela Quaresma. "Scandi-Noir in Portuguese: in pursuit of textual transits." Translation Matters 3, no. 1 (2021): 25–40. http://dx.doi.org/10.21747/21844585/tm3_1a2.

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Following the global success of Stieg Larsson’s Millennium Trilogy(2005), Scandinavian crime fiction has attracted considerable attention from researchers in literary studies and other domains. However, a gap still remains with regard to the translations of this sub-genre in Portugal and Brazil. To address this gap, this article attempts to demonstrate how crime fiction produced in Sweden, Denmark and Norway has been disseminated in Portugal and Brazil by means of a bibliographic survey that traces the various transit routes that exist between these (semi-) peripheral languages. The results indicate that indirect translation continues to play an important role in this process, contrary to some predictions.
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Winsnes, Selena Axelrod. "P. E. Isert in German, French, and English: A Comparison of Translations." History in Africa 19 (1992): 401–10. http://dx.doi.org/10.2307/3172009.

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Paul Erdmann Isert's Reise nach Guinea und den Caribäischen Inseln in Columbien (Copenhagen 1788) seems to have enjoyed a lively reception, considering the number of translations, both complete and abridged, which appeared shortly after the original. Written in German, in Gothic script, it was quickly ‘lifted over’ into the Roman alphabet in the translations (into Scandinavian languages, Dutch, and French), thus making it available to an even greater public than a purely German-reading one. In the course of my research for the first English translation, I have found that the greatest number of references to Reise in modern bibliographies have been to the French translation, Voyages en Guinée (Paris, 1793). This indicates a greater availability of the translation, a greater degree of competence/ease in reading French than the German in its original form, or both. The 1793 translation has recently been issued in a modern reprint, with the orthography modernized and with an introduction and notes by Nicoué Gayibor. Having recently completed my own translation, I have now had the opportunity to examine the 1793 edition more closely, and have noticed a number of variations and divergencies from the original. I would like to examine these here, largely as an illustration of problems in translation, using both a copy of the 1793 edition and the new reprint. The latter, barring a few orthographical errors—confusion of f's and s's—is true to its predecessor.
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Svetozarova, Natalia. "Christian Morgenstern and Henrik Ibsen (an episode in the history of literary translation)." Scandinavian Philology 21, no. 1 (2023): 152–61. http://dx.doi.org/10.21638/11701/spbu21.2023.110.

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This article discusses the history of creative contacts between the great Norwegian playwright Henrik Ibsen and the German poet Christian Morgenstern (1871–1914). Christian Morgenstern’s life was short and marred by physical suffering, but fantastically full and diverse in creative terms. A significant part of Christian Morgenstern’s lyrical and epistolary legacy was published only after his death thanks to the efforts of his wife and friends. Christian Morgenstern’s translations of Henrik Ibsen’s works date from the late 19th century, when the new Solomon Fischer’s publishing house (S. Fischer Verlag) in Berlin decided to publish the complete works of Ibsen in a translation into a German language that would be worthy of the original language. The publishing house turned to a young and at the time still little known poet who, being in love with Scandinavian literature and with Henrik Ibsen, set to work with great enthusiasm, settled in a family boarding house near Christiania, in a short time learned Norwegian, consulted and corresponded with Ibsen several times and as a result created translations for his plays, the German of which was delighted and earned the high praise of the playwright. An authorized edition of the translations was printed in Germany between 1898 and 1904 and is now a bibliographic rarity. However, many of Ibsen’s works are still published in Germany in the translation of Christian Morgenstern, known primarily as an unsurpassed master of poetic miniatures in a unique style of lyrical humor.
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Books on the topic "Translations from Scandinavian"

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Gordon, Walmsley, ed. Fire & ice: Nine poets from Scandinavia and the North. Cliffs of Moher, Co. Clare, Ireland: Salmon Pub., 2004.

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Aggestam, Rolf. Between darkness and darkness: Selected poems. Portland, Or: Prescott Street Press, 1989.

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Lie, Jonas Lauritz Idemil. Weird tales from Northern seas: Norwegian legends. [Iowa City, Iowa]: Penfield Press, 1996.

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Scandinavian, Symposium on Translation Theory (SSOTT) (2nd 1985 Lund Sweden). Translation studies in Scandinavia: Proceedings from the Scandinavian Symposium on Translation Theory (SSOTT) II, Lund 14-15 June, 1985. Malmo Sweden: C.W.K. Gleerup, 1986.

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Scandinavian Symposium on Translation Theory (1988 Oslo). Translation theory in Scandinavia: Proceedings from the Scandinavian Symposium on Translation Theory (SSOTT) III, Oslo 11-13 August 1988. [Oslo?: University of Norway?], 1988.

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1907-2002, Lindgren Astrid, Egner Thorbjørn 1912-, Jansson Tove, and Braude L. I︠U︡, eds. Mio, moĭ mio!: Povesti-skazki skandinavskikh pisateleĭ. Moskva: Izd-vo Pravda, 1990.

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Lindgren, Astrid. Mio, my son. Keller, TX: Purple House Press, 2003.

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Lindgren, Astrid. Mio, my son. New York, N.Y., U.S.A: Puffin Books, 1988.

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Lindgren, Astrid. Mio, moĭ Mio!: Povestʹ-skazka. Sankt-Peterburg: Mir rebënka, 1998.

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Lindgren, Astrid. Mio, min Mio. 8th ed. Stockholm: Rabén & Sjögren, 1998.

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Book chapters on the topic "Translations from Scandinavian"

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Nyström Höög, Catharina, Henrik Rahm, and Gøril Thomassen Hammerstad. "Introduction." In Nordic Perspectives on the Discourse of Things, 1–15. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33122-0_1.

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AbstractThis book deals with the Nordic tradition of sakprosa studies, and the role of complex written texts in an increasingly diverse and dynamic society. Since 2009, the journal Sakprosa—a Nordic publication based in Oslo—has been publishing articles on different aspects of applied linguistics, rhetoric, textual studies, discourse analysis, literature studies, educational studies, communication and adjoining disciplines. The word sakprosa is a compound noun, where the first part sak is a rather polysemic word which means ‘thing’ (or ‘issue’, ‘case’, ‘subject’) and the second part means ‘prose’. Thus, the literal meaning is prose (texts) about things. Common translations are non-fictional prose, subject oriented texts or subject-oriented prose as well as non-literary prose. We use the Scandinavian noun sakprosa as it incorporates all these meanings. The six chapters of this book bring forth different aspects of the concept sakprosa—the text-theoretical framework for Scandinavian sakprosa research, CSR-reporting, changes of sakprosa culture because of the digitizing of communication, a study of a master programme for sakprosa writing, crisis information from a public authority and a concluding summary which re-visits all the chapters and reflects on their contributions to the field of sakprosa studies.
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Stougaard-Nielsen, Jakob. "Criminal Peripheries: The Globalization of Scandinavian Crime Fiction and Its Agents." In Translating the Literatures of Small European Nations, 184–204. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620528.003.0013.

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In the twenty-first century, the extraordinary success of Scandinavian crime fiction in translation has challenged long-held assumptions about the hierarchy of nations, languages and genres in global publishing. This chapter assesses the ‘Scandinavian publishing miracle’ by considering various consecration processes (e.g. literary prizes), domestic changes brought to the publishing field towards the end of the last century (e.g. literary agents and the regional publishing field) and the dynamics of translation and promotion of Scandinavian crime fiction with a focus on the UK market since 2000. The chapter presents a case study of Henning Mankell’s impact on the international market – a case which also demonstrates that the Scandinavian twenty-first-century publishing phenomenon is the tip of an iceberg hiding strategic coordinated practices between small-nation actors established in the early 1990s, which provided a ‘marginocentric’ model for how literatures from small European nations could successfully enter the international mainstream.
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Bradley, Laura. "Translation and Transference since 1932." In Brecht and Political Theatre: The Mother on Stage, 135–75. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199286584.003.0005.

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Abstract It was only after the Second World War that Die Mutterreached a truly worldwide audience, and only in the 1970s and 1980s that it became popular among politicized theatres in England and Scandinavia. For these two reasons, this chapter is an appropriate point at which to focus on the play’s international reception and the problems of translation and transference. Although this approach interrupts my chronological discussion of German stagings, it actually continues my analysis of performance as a response to politico-cultural context by considering how, and how far, foreign-language productions have negotiated the differences between their audiences, Brecht’s German text, and its Russian subject-matter. Methodologically, my approach accords with the comparatively recent shift in emphasis in Translation Studies from linguistic transcoding to cultural transference. Following this ‘cultural turn’, most theorists now see the relationship between a text and its translations as culturally and historically conditioned. Indeed, Susan Bassnett and André Lefevere have even argued that translators sometimes need to avoid ‘faithful’ renditions in order to reach their target audiences.
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Lindqvist, Yvonne. "The Scandinavian Literary Translation Field from a Global Point of View." In Institutions of World Literature, 174–88. Routledge, 2015. http://dx.doi.org/10.4324/9781315735979-12.

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Vimr, Ondřej. "Supply-driven Translation: Compensating for Lack of Demand." In Translating the Literatures of Small European Nations, 48–68. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620528.003.0006.

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This chapter challenges the dominant notion in descriptive translation studies that literary translation is effectively driven by demand from the target culture. Gideon Toury argues that a target culture translates to fill gaps exposed by a source culture which the target culture views as prestigious. While this notion may work historically for the purposes of comparative literature, literary historians and translation theory, and in the context of high-brow literature, this chapter considers it unsuited to other genres, less widely translated literatures or the contemporary book industry. Using mainly Scandinavian and Czech examples, and others found in this volume, the chapter elucidates the notion of supply-driven translation from smaller European literatures, aimed at fighting the norm of non-translation. The chapter concludes by providing a typology of supply-driven interventions, with some commentary on their apparent advantages and drawbacks that sheds light on the roles, motivations and contributions of different intermediaries in the translation process.
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Røvik, Kjell Arne. "Antecedents of a Translation Theory of Knowledge Transfer." In A Translation Theory of Knowledge Transfer, 67–102. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198832362.003.0003.

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Abstract This chapter presents the antecedents of the translation theory of knowledge transfer, which is ideas, perspectives, and metaphors imported from disciplines other than knowledge transfer studies. The first section of the chapter is devoted to questions about the development of new theories of organization and management. What are the challenges, the pros, and the cons of attempts to make theories based on borrowings from other disciplines? This discussion and its insights are related to the challenges of outlining a translation theory of knowledge transfer. The second (and main) part of the chapter addresses the two antecedents of the theory: insights from translation studies, a school of thought that originated from linguistics in the early 1970s; and the French/Scandinavian translation school in organization studies. Concepts, arguments, images, and models are borrowed from these disciplines, thus providing essential elements to the theory-building process.
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Likhacheva, Svetlana B. "Fiction as a Commentary on Reality — Reality as the Roots of Fiction: European Epics and J.R.R. Tolkien’s Original Legendarium." In Commentary: Theory and Practice, 113–42. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/978-5-9208-0618-5-113-142.

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J.R.R. Tolkien owes much of his success as a writer to his scholarly expertise: the professional mastery of epic traditions of the past allowed the author to create an epic of his own. From the analysis of ancient texts and preparation of critical editions and translations (Sir Gawain and the Green Knight, Pearl, Beowulf), via “sequelizing” (The Homecoming of Beorhthnoth) and filling in the gaps in Germanic epics, the author comes to creating his own mythology deeply rooted in the authentic tradition. In this article we consider the three different traditions, or the three sources of the material that Tolkien uses: the Old Norse matter, the Anglo-Saxon matter and the British, i.e. Arthurian matter. In The Homecoming of Beorhthnoth as a continuation of the Anglo-Saxon Battle of Maldon Tolkien accurately reproduces both the form and the ideological context, thus becoming a co-author of an anonymous Anglo-Saxon poet, together with him revising the historical and cultural stereotypes and recording their supersession. In the missing and “added” episodes of the Poetic Edda (The New Lay of the Völsungs and The New Lay of Gudrun) the story of Sigurd becomes yet another retelling or yet another version of the Tale of Turin Turambar: thus an elvish legend gets incorporated into the Northern European epics, while a fragment of the Scandinavian epic becomes part of the legendarium of Arda. In the retelling or reinterpretation of the Arthurian myth (the alliterative Fall of Arthur) the creative mythology converges with the authentic tradition: the legendary King Arthur sails into the creative myth of Tolkien, while the frontiers between the Tolkien’s world and the world of European epics get blurred. The non-Silmarillion texts mark an important milestone on the road from the scholarly approach towards the authentic sources to independent creative writing. By further developing the potential of the original texts, Tolkien becomes a co-author of anonymous poets and chroniclers in his own right as well as enhances the credibility of his own creative legendarium while inscribing it into the existing time-honoured tradition by means of manifold references, allusions, subtle echoes and elaborate underlying associations.
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O’Donoghue, Heather. "Old Norse-Icelandic Studies." In A Century of British Medieval Studies. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263952.003.0011.

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This chapter examines the works of British Old Norse-Icelandic scholars. It explains that from the start, British interest in Old Norse studies was closely bound up with contemporary Old Norse-Icelandic scholarship in Scandinavia and that the British connection was only established after James Johnstone's translation of extracts from the thirteenth-century historical compilation Heimskringla. This chapter also discusses the trend in Old Norse-Icelandic studies in Britain which involved the recognition of sagas as being informative not in their details of event and character, but in their portrayal of society and culture.
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Miller, D. Gary. "The Goths and Gothic." In The Oxford Gothic Grammar, 1–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813590.003.0001.

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Despite many defenses of the traditional account, there is no secure evidence for a Scandinavian origin of the Goths, no runic evidence, and linguistic parallels between Gothic and Old Norse are inconclusive. In their continual encounters with the Romans, the Goths experienced considerable language contact. Not only are there many borrowings from Latin, but many Greek words in Gothic have their Latin form and there are layers of borrowings from Greek as well. The entire Gothic corpus contains a little over 70,000 words preserved in some fifteen documents. Many mysteries surround the Gothic translation of the Bible, traditionally ascribed to Wulfila. Evidence for multiple translators is presented from lexical, morphological, and syntactic localization, as well as the range from fully idiomatic to marginally acceptable to ungrammatical constructions.
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Korovin, Andrey V. "The Phenomenon of Aladdin: Interpretation of Oriental Motives and Growth of National Self-Conscience in Danish Romantic Literature." In Translation, Interpretation, Commentary in the Eastern and Western Literature, 149–78. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0710-6-149-178.

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The article deals with the problem of interpretation of Oriental motives and images in Danish literature of 19th century and their influence to the growth of Danish national self-identification in the period of Romanticism. The development of Romantic ideas in Denmark raises the interest to the national past — the time of Vikings and the same time — the interest to Orient, which is a very specific feature of Danish literature and art. Combination of Romantic nationalism and Orientalism is a result of the intention to look for roots of the national culture, when according to Old Norse sources the motherland of ancient Scandinavian gods is Asia. The notable text of Danish Romanticism is the poetic drama “Aladdin” by A.G. Oehlenschläger, which is an interpretation of the fairy tale from “1001 Nights” collection. This drama had a new form and unusual plot. Piece of prose “Aly and Gulhyndy” is the first Danish literary fairy tale. In this text Oriental images and motives were interpreted in the romantic way. That time the very positive image of the Orient exists in Danish literature, it is visible in the books of the most prominent Danish writers and scholars including H.C. Andersen. His fairy tale “The Tinderbox” is also one of interpretations of story about Aladdin.
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Conference papers on the topic "Translations from Scandinavian"

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Orlova, G. "DANISH CHILDREN’S LITERATURE IN RUSSIAN TRANSLATIONS: HISTORY AND TRENDS." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3748.rus_lit_20-21/300-303.

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The paper examines the history of Danish children’s literature translation into and publication in Russian from the middle of the 19th century to the present day. The article considers literary and extraliterary reasons for the fluctuations in the readers’ and publishers’ interest in Scandinavian literature throughout the history of literary contacts between Russia and Denmark. The work analyses contemporary publishing trends and the book market participants’ motivations when selecting Danish authors and books for translation into Russian.
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