Jakob Stougaard-Nielsen – författare

With its bleak urban environments, psychologically compelling heroes and socially engaged plots, Scandinavian crime writing has captured the imaginations of a global audience in the 21st century. Exploring the genre's key themes, international impact and socio-political contexts, Scandinavian Crime Fiction guides readers through such key texts as Sjöwall and Wahlöö’s Novel of a Crime, Gunnar Staalesen’s Varg Veum series, Peter Høeg’s Miss Smilla’s Feeling for Snow, Henning Mankell's Wallander books, Stieg Larsson's Millennium trilogy and TV series such as The Killing. With its focus on the function of crime fiction in both reflecting and shaping the late-modern Scandinavian welfare societies, this book is essential for readers, viewers and fans of contemporary crime writing.

With its bleak urban environments, psychologically compelling heroes and socially engaged plots, Scandinavian crime writing has captured the imaginations of a global audience in the 21st century. Exploring the genre's key themes, international impact and socio-political contexts, Scandinavian Crime Fiction guides readers through such key texts as Sjöwall and Wahlöö’s Novel of a Crime, Gunnar Staalesen’s Varg Veum series, Peter Høeg’s Miss Smilla’s Feeling for Snow, Henning Mankell's Wallander books, Stieg Larsson's Millennium trilogy and TV series such as The Killing. With its focus on the function of crime fiction in both reflecting and shaping the late-modern Scandinavian welfare societies, this book is essential for readers, viewers and fans of contemporary crime writing.

This book constitutes the most detailed and wide-ranging comparative study to date of how European literatures written in less well known languages try, through translation, to reach the wider world. Through case studies of over thirteen different national contexts as diverse as Bosnian, Catalan, Czech, Dutch, Maltese, Polish, Portuguese, Swedish and Serbian, it explores patterns and contrasts in approaches to supply-driven translation, cultural diplomacy, institutional support and international gate-keeping, while examining the particular fates of poetry, women’s writing and genre fiction, and the opportunities arising from trans-medial circulation, self-translation and translingualism and a more radical critique of power balances in the translation and publishing industries. Its comparative approach challenges both the narratives of uniqueness that arise from discrete national approaches and the narrative of tragic marginalization that prevails in world literary approaches. Instead, it uses an interdisciplinary mix of literary, historical, sociological, gender- and translation-studies approaches to illuminate the often pioneering, innovative thinking and strategies that mark these literatures as they take on the inequalities of globalization.