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Norsk litteratur i Nazi-Tyskland

During the Second World War, Norwegian literature comprised the largest part of German-translated literature. Knut Hamsun and Trygve Gulbranssen were among the absolute bestsellers on the German market, but behind them were over a hundred Norwegian authors who were published or tried to be published...

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Autor principal: Fulsås, Narve
Formato: Online
Lenguaje:noruego
Publicado: Scandinavian University Press (Universitetsforlaget) 2025
Materias:
Eilif Moe
Max Tau
Johan Falkberget
Sigrid Undset
Tarjej Vesaas
thema EDItEUR::N History and Archaeology::NH History
thema EDItEUR::N History and Archaeology::NH History::NHD European history
thema EDItEUR::D Biography, Literature and Literary studies::DS Literature: history and criticism::DSB Literary studies: general::DSBH Literary studies: c 1900 to c 2000
thema EDItEUR::D Biography, Literature and Literary studies::DS Literature: history and criticism::DSK Literary studies: fiction, novelists and prose writers
Acceso en línea:https://directory.doabooks.org/handle/20.500.12854/168952
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Sumario:During the Second World War, Norwegian literature comprised the largest part of German-translated literature. Knut Hamsun and Trygve Gulbranssen were among the absolute bestsellers on the German market, but behind them were over a hundred Norwegian authors who were published or tried to be published under National Socialism, 1933–1944. Few of them were Nazis, and even fewer talked about it afterwards. Two important intermediaries in this literary exchange were the Norwegian lawyer Eilif Moe and the German publisher and later refugee Max Tau. They operated what came to be called The Literary Agency, probably the first of its kind in Norway, but their work has gone largely unnoticed. The agency's archive allows us to study how Norwegian authors viewed publishing under National Socialism, what motivated them, and what cooperating with German publishers and Nazi literary authorities entailed. A transnational Norwegian-German perspective reveals a striking discrepancy between resistance to occupation and Nazification at home and willingness to cooperate with the Nazi literary system abroad. There was an idealistic justification for this business: to provide non-Nazi publishers and readers with good literature. However, idealism was always accompanied by market prospects, and financial opportunities often outweighed political and ethical objections.

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