In:Nordic Literature: A comparative history: Volume II: Figural nodes
Edited by Steven P. Sondrup, Mark B. Sandberg, Nathaniel Kramer, Christopher Oscarson, Linda Haverty Rugg and Karin Sanders
[Comparative History of Literatures in European Languages 38] 2026
► pp. xiii–xvi
This content is being prepared for publication; it may be subject to changes.
List of figures
Figure 1.Still image from Melancholia (2011)
Figure 2.Johan Thomas Lundbye, Perfectum-Præsens-Futurum: Ung mand siddende under et træ på en sten med hænderne for
ansigtet (1844; Perfectum-Presens-Futurum: Young man sitting under a tree on a rock with his hands in front of his
face). Ink and watercolor, 17.4 x 22 cm, Statens Museum for Kunst (Copenhagen)
Figure 3.Edvard Munch, Melankoli (1894–96; Melancholy). Oil on canvas, 81 × 100.5 cm. Bergen Kunstmuseum
Figure 4.Michael Elmgreen and Ingar Dragset (aka Elmgreen & Dragset), Social Mobility (2005). Mixed media, ARKEN
Museum of Modern Art (Copenhagen). Photo: Christopher Oscarson
Figure 5.Albrecht Dürer, Melencolia I (1514). Engraving, 24 x 18.5 cm. Metropolitan Museum of Art (New York). Creative
Commons
Figure 6.Still image from Melancholia (2011)
Figure 7.Edvard Munch, Skrik (1893; The Scream). Oil, tempura, and pastel on cardboard, 91 cm x 73.5 cm. Nasjonalmuseet
for kunst, arkitektur og design (Oslo). Photo: Børre Høstland, Creative Commons
Figure 8.Olafur Eliasson, Ice Watch (2014). Ice. Photo: Anders Sune Berg, https://olafureliasson.net. Accessed 22 September 2024
Figure 9.Still image from Skammen (1968; Shame)
Figure 10.Image from Bengt Emil Johnson’s Essäer
Figure 11.Image from Bengt Emil Johnson’s Gubbdrukning
Figure 12.Still from Babettes gjæstebud (1987; Babette’s Feast)
Figure 13.Cover of Magnus Nilsson’s The Nordic Cookbook. Photo: Mark Sandberg
Figure 14.Alexander Kielland at his dining room table, Photo: Statsarkivet i Stavanger and private archive, Pa 551 Gjesteland, Thomas,
SAS_1990_10_046_utsnitt
Figure 15.Alexander Kielland at his writing desk, Photo: Statsarkivet i Stavanger and private archive, Pa 551 Gjesteland, Thomas,
SAS_1990_10_543
Figure 16.[Lofoten, tørrfisk], (1957, Lofoten dried fish), Photo: Jac Brun/Nasjonalbiblioteket,
http://urn.nb.no/URN:NBN:no-nb_digifoto_20150210_00064_NB_MIT_FNR_16856
Figure 17.Still image from Nattvardsgästerna (1962; Winter Light)
Figure 18.English language poster from Jag är nyfiken — blå (1970; I am Curious — Blue). Sandberg Film
Memorabilia Archive (Albany, CA). Curated by Wildcat Canyon Advanced Seminar in Folklore and Cultural Studies. Photo: Mark
Sandberg
Figure 19.Christian Krohg, Albertine i politilægens venteværelse (1887, Albertine in the Police Doctor’s Waiting-Room).
Oil on canvas, 211 x 325.5 cm. Nasjonalmuseet for kunst, arkitektur og design (Oslo). Photo: National Museum/Jacques
Lathion/Creative Commons — Attribution CC‑BY
Figure 20.Edvard Munch, Vampyr II (1902; Vampire II). Lithography and woodcuts on paper, 38.4 x 55.3 cm. Nasjonalmuseet
for kunst, arkitektur og design (Oslo). Photo: Ina Wesenberg/Ivarsøy, Dag Andre
Figure 21.An example of the visual art from the Golden Age of Finnish art: Eero Järnefelt, Raatajat rahanalaiset/Kaski
(1893; Under the Yoke/Burning the Brushwood). Oil on canvas, 131 x 164 cm. Finnish National Gallery (Helsinki). Photo:
TgE5-s2gPkOE6Q/Google Cultural Institute
Figure 22.Contemporary cottage in Tällberg, Sweden painted in typical Falu-red color. Photo: Mark Sandberg
Figure 23.The homestead from Mora (Moragården) as displayed at Skansen (Stockholm). Photo: Mark Sandberg
Figure 24.Johan Turi’s illustration of a high mountain camp during a storm in An Account of the Sámi (2011), 154–55.
Emilie Demant’s caption in the original 1910 edition includes this explication of Turi’s image: “Those who cannot be seen through
the door opening, Turi has simply made visible through the tent fabric
Figure 25.Illustration of the stage design for the 18 November 1877 production of Samfundets Støtter at the Royal
Theater in Copenhagen. Knud Gamborg; Illustreret Tidende 24 November 1877
Figure 26.Gallen-Kallela, Väinämöisen lähto 1906, (The Departure of Väinämöinen). Tempera, 128 × 120.5 cm. Hämeenlinna
Art Museum. Photo: Wikicommons: https://commons.wikimedia.org/wiki/File:Väinämöisen_lähto.jpg/Public Domain
Figure 27.Robert Wilhelm Ekman, Väinämöisen soitto (1866; Väinämöinen’s Play). Oil on canvas, 390 x 283 cm. Student
Union of the University of Helsinki. https://commons.wikimedia.org/wiki/File:Väinämöisen_soitto1.jpg/Public Domain
Figure 28.IB0310 External migration by country, age, sex (1985–2021); Statistics Faroe Islands; https://statbank.hagstova.fo/pxweb/en/H2/H2__IB__IB03/flyt_utlond.px/chart/chartViewLine/. Accessed 17 January
2023
Figure 29.Svend Wiig Hansen, Mennesket, det ensomme dyr (1992–93; Human, that lonely animal). Bronze 170 cm. Svendborg
Museum (Denmark). Photo: Geir Haukursson and Svendborg Museum
Figure 30.Christian Skredsvig, Sne (1901, Snow). Pastel on paper, 46.5 x 61 cm, Nationalmuseet, (Oslo)/Creative
Commons
Figure 31.Vilhelm Hammershøi, Interiør: Strandgate 30 (1901, Interior: Strand Road 30). Oil on canvas, 66 x 55 cm.
Städel Museum (Frankfurt am Main)/CC BY-SA 4.0
Figure 32.Close up photograph of a reproduction of the iconic “en svensk tiger” image from Bertil Almqvist’s World War II propaganda
poster as displayed on the exterior of the Beredskapsmuseum (Helsingborg, Sweden). Photo: Anders Lagerås/CC BY-SA 3.0
Figure 33.Still images from Emil och griseknoen (1973; Emil and the Piglet)
Figure 34.Cover art from first edition of Barnens ö (1976, Children’s Island). Cover art by Jan Biberg
Figure 35.J. F. Willumsen, Sol og Ungdom (1910, Sun and Youth). Oil on canvas, 266 x 427 cm. Göteborgs konstmuseum.
Photo: Göteborgs Konstmuseum
Figure 36.Kai Nielsen, Den første Generation (1906, The First Generation). Plaster, h. 230 cm. Glyptoteket (Copenhagen).
Photo: Ny Carlsberg Glyptotek/Anders Sune Berg
Figure 37.Theodor Kittelsen, Trollet som grunner på hvor gammelt det er (1911, Troll wondering how old it is). Postcard.
Photo: Nasjonalbiblioteket (Oslo)/CC BY 2.0
Figure 38.Commemorative medal for the Nordic Art and Industry Exhibition 1872 in Copenhagen. Nationalmuseet (Copenhagen). Photo: Niels
Jakob Elsborg Andersen. CC-BY-SA
Figure 39.A three-level model of expressive culture, that helps illustrate the importance of folklore in the negotiation of cultural
ideology, the norms, beliefs and values that help structure individuals’ interaction with the groups to which they belong
Figure 40.A decision tree for interacting with the hidden folk and the possible outcomes of those decisions. Each of these are attested
in the legend tradition, except the first left branch (ignore the peel board). The lack of variants of this type suggests that
ignoring the peel board is not a reportable decision (i.e. it does not result in a story worth telling). A game theoretic version
of this tree proposes various “payouts” for the different strategies (Tangherlini “Barter and Games”)
