Hvis du har foretaget ændringer i Pure, vil de snart blive vist her.

Personlig profil

CV

Akademisk CV

  • 2021 | Gæsteforsker, Institut für deutsche Philologie, LMU-München.
  • 2021 | Post.doc., Institut for Kulturvidenskab, SDU.
  • 2021 | Ph.d. i litteraturvidenskab.
  • 2020 | Gæsteforsker, Faculty of Medieval and Modern Languages, University of Oxford.
  • 2020 | Modtager af Forskningsministeriets EliteForsk-rejsestipendiat.
  • 2019 | Gæsteforsker, Romanisches Seminar, Universität Heidelberg
  • 2018 | Gæsteforsker, Department of English and Related Literature, University of York
  • 2018 | Ph.D.-stipendiat, Centre for Medieval Literature, Syddansk Universitet
  • 2016 | Undervisningsassistent, Litteraturvidenskab, Syddansk Univeristet
  • 2016 | Cand.mag. i litteraturvidenskab, Københavns Universitet
  • 2014 | Udvekslingsophold, Freie Universität Berlin
  • 2013 | Udvekslingsophold, Universität Mannheim
  • 2011 | Bachelor i filosofi, Københavns Universitet

Udgivelser

Monografier

Antologier

Oversættelser

  • Eduard Thurneysen: Dostojevskij. Oversættelse og noter af Rasmus Vangshardt. Efterskrift af Bent Flemming Nielsen og Rasmus Vangshardt (Frederiksberg: Multivers 2021).

Forskningsartikler og bogbidrag

  • "Blodkometer og skakforgiftning i Europa" i Stefan Zweig, Skaknovelle og andre fortællinger. Forord og udvalg ved Rasmus Vangshardt. Oversat af Lone Østerlind (Aarhus: Turbine 2021), s. 5-16.
  • "Efterskrift" v/ Bent Flemming Nielsen og Rasmus Vangshardt i Eduard Thurneysen, Dostojevskij. Oversat af Rasmus Vangshardt (Frederiksberg: Multivers 2021), s. 101-152.
  • "Sammenhæng og modernitetslægsel i litteraturhistorien, eller: Historie og historisme er to ting" i Kallenbach et al. (red.), Det historiske blik. (Aarhus: Aarhus Universitetsforlag 2021).
  • "'El circular coliseo.' The Loa to El gran teatro del mundo Reconsidered" in The Bulletin of the Comediantes. vol. 72, no. 2 (2020), pp. 117-142.
  • "Coherence and the Longing for Modernity in Literary Historiography, or: Why History and Historicism Are Two Things" in Res Cogitans (2020), vol. 14, no. 2, p. 85-103.
  • "Hård sentimentalisme og seksualiseret middelalder i Tom Kristensens 'En Kavaler i Spanien'" i European Journal of Scandinavian Studies. Vol. 50, no. 1 (2020)
  • "'Livets onde Strid.' Silénsk visdom i Henrik Pontoppidans De Dødes Rige" i Erik Skyum-Nielsen (red.), Liget der blev oppe på jorden. Nietzsche-receptionen i Norden (Hellerup: Spring 2020)
  • "Vikingenaturens svaghed. Kvinders vitalistiske frelsestilbud hos Harald Kidde og Henrik Pontoppidan" i Bugge og Herman (red.), Moder, søster, elskte. Frelsende kvindeskikkelser i dansk litteratur (København: Ekistensen 2019).
  • "Antonio's sadness in the Stoic Theatrum Mundi of the Early Modern City" i Orbis Litterarum (2019). Vol. 74, no. 4, p. 264-277.
  • "Der må ikke gå lyrik i mennesket. Om Henrik Pontoppidans Mands Himmerig" i Pontoppidaniana. III. række, II. bind. (Pontoppidan-selskabet 2019)
  • "'Hic Rhodus, hic Salta.' Profan opstandelse i Martin A. Hansens Lykkelige Kristoffer" i Jørgensen (red), For Folkets Frihed. Martin A. Hansen og besættelsen (København: Gyldendal 2018)
  • “Humanioraen i Rom efter Cæsars død. Aristoteles, Gadamer og Bultmann om det hermeneutiske problem” i Tidsskriftet Fønix (2016). S. 153-175.
  • “Verdensteatret og vi, de moderne” i Hjortkjær & Nørkjær (red.), SLØK. Perspektivforskydninger (Århus: Klim 2016).
  • “Askov-kritikken. Jens Kruuse og Jørgen Bukdahl” i Garne & Nord (red.), Efter Georg. Virkningshistoriske livstag med brandesianismen (Århus: Munch & Lorenzen 2015).
  • “Livet er en flytfodstilværelse. Om Jørgen Bukdahls eksistenstænkning” i Else Marie Bukdahl (red.), Jørgen Bukdahls skrifter og tanker. Essays og bibliografi (København: Billedkunstskolernes Forlag 2015).

Konferencedeltagelse

  • "The Meaning of History on Lohenstein’s Early Modern Schauplatz." Transnational Aspects of Early Modern Drama. Ruhr University Bochum. 25. juni 2021.
  • "Nervøsitet i frokoststuen. Angst og ekspressionisme i mellemkrigstidens København med særligt fokus på Johannes Weltzer." Angst i dansk litteratur. Europa-Universität Flensburg. 17. juni 2021.
  • "Apologetics and Religion in Early Modern Corpus Christi Drama." ReForc 2021 Budapest-Virtual. 6. maj 2021.
  • "Calderón's World Theatre of Celebration: 'Aesthetical Theodicy' as a Perspective on the Baroque Theatrum Mundi." Renaissance Society of America. RSA 2021-Virtual. 21. april. 2021.
  • "Tilfældene Strauss." Identitetspolitik og kunstens autonomi. Syddansk Universitet. 9. sep. 2020.
  • "Calderóns ästhetische Theodizee und das Theatrum Mundi des Feierns." Doktorandenkolloquium des Romanischen Seminars. Ruprecht-Karls-Universität Heidelberg. 4. dec. 2019.
  • "'Rak mig saa ned, I hunde!' Johannes Holbeks Gesamtkunst mellem længsel og pessimisme." Arbeitstage der Skandinavistik. Universität Erlangen. 25. sep. 2019.
  • "Antonio's Sadness in the World Theatre of the Early Modern City." Fear and Loathing in the Earthly City. Negative Emotions in the Medieval and Early Modern Period c. 1100-1700. Danish National Museum. 2th of Nov. 2018.
  • "Historical Continuity and the Blessed Middle Ages in Martin A. Hansens Lykkelige Kristoffer." International Association of Scandinavian Studies 2018. University of Copenhagen.
  • "Harter Sentimentalismus und erotische Hochstapelei in Tom Kristensens Ein Kavalier in Spanien." Christian-Albrechts-Universität zu Kiel. Arbeitstage der Skandinavistik. 29. september 2017.
  • "Asketiske præster i kvinde­forklædning fra J.P. Jacobsen til Thomas Mann". Aarhus Universitet. Tværfagligt seminar i anledning af dr.phil. Børge Kristiansens 75 års fødselsdag. 4. maj 2017.
  • "De meningsløse mishandlinger og naturens grusomhed. Nietzsche i Henrik Pontoppidans 'Lykke-Per' og 'De Dødes Rige'. Schæffergården. Fondet for dansk-norsk samarbeid. 27. januar 2017.

 

Forskningsområde

  • Literary historiography
  • Medievalisms from the Early Modern Period to the Second World War.
  • Danish literary history
  • Theory of Comparative Literature
  • William Shakespeare
  • Danish and German romanticism

Forskningsinformation

Ph.D. Fellow at The Centre for Medieval Literature, SDU.

Ph.D. Project

The World Theatre of Celebration. Pedro Calderón de la Barca and the World Theatre as Aesthetic Theodicy
 
Summary of the Thesis
 
“Let us look at the matter thus: May we not conceive each of us living beings to be a puppet of the Gods, either their plaything only, or created with a purpose—which of the two we cannot certainly know?” This is a question (and a claim) by the Athenian stranger in Plato’s late work Laws and one of the early full invocations of the image of the theatrum mundi in European literary history. Plato claims that experience of the world as a stage can lead to a feeling of despair: we are puppets to the gods, and they kill us for their sport. But living in the world theatre can clearly also mean that we and the world are created with a purpose. The theatrum mundi can, in other words, imply metaphysical pessimism as well as some form of justification of the world.
 
The theatrum mundi has not lacked attention in general histories of European literature, but an investigation into the latter possibility of the world theatre as a cause for apologetics rather than for pessimism is still lacking. The present dissertation represents the beginning of such a study by meticulously re-contextualising and close reading Pedro Calderón de la Barca’s El gran teatro del mundo (c. 1633) in order for Calderón’s awareness of the metaphor’s contact with the second part of the Platonic disjunction to emerge. By studying the genre of the auto sacramental as an autonomous art form, centered on the creation of a ‘poetic of festivity,’ the play is studied anew and the outlines of a theatrum mundi of celebration are drawn.
 
This interpretation leads to a new suggestion as to how the structure of the text and its core themes can be viewed. Instead of the traditional focus on the ethics of the drama’s play-within-the-play and the epistemological problems of illusion and vanitas, the dissertation makes a world theatre come to light which functions as a transformation of traditional baroque problems of crisis, death and skepticism rather than being their mere expression.
 
By close-reading the text in light of an apologetic world theatre, the dissertation suggests a number of new features related to the play: An analogous meaning of the word field of día, especially accessible through the medieval Quadriga; the sense of a deepening of historical time, favouring multi-temporality over the dominion of the present; the art-historical phenomena of danse macabre and chiaroscuro; the style figure of metalepsis as an apology; and the liturgical origins of the auto as a transformative ritual in religious and aesthetical sense.
 
With the aid of vocabularies drawn from Søren Kierkegaard, Hans Blumenberg, Hans Urs von Balthasar and H.-G. Gadamer, these analyses lead to a concept of Calderón’s world theatre as an aesthetic theodicy which works to transform the horrors of empirical existence into a vindication of the world.
 
The dissertation’s last focus is philosophico-historiographical and probes the dualism of the Middle Ages versus modernity in the way literary history is written. The dissertation discusses the popular urge to see Calderón as a ‘first modern’ next to Descartes and Shakespeare and demonstrates how assumptions of early modern sentiments are often connected with pessimistic and skepticist accounts of the theatrum mundi.
 
The dissertation argues that a more complex theatrum mundi emerges when the necessary relation between early modernity and philosophical pessimism is questioned and when the beginning of modernity is not defined as a radical break with the Middle Ages.
 
Thereby, the dissertation offers a way to acknowledge that the Janus Face of the trope is not transferable to a linear Western history where the apologetic and celebratory tendency was Catholic and medieval, and the pessimistic one modern and secular. Rather than being a question of Christianity versus modernity, the theatrum mundi emerges as a battle for the world between two conflicting experiences of it; a struggle which has taken place within the areas of theology, philosophy, and art.
 
Finally, the study suggests that the celebratory world theatre as portrayed in the case of Calderón’s El gran teatro del mundo would enable a better understanding of a range of uses of the trope in later Germanic modernity, namely Goethe, Schiller, the Schlegel brothers, Eichendorff, Wagner, von Hofmannsthal, Robert Musil and Ernst Jünger. Thereby, Calderón’s world theatre becomes the beginning of an alternative current in literary modernity

Forskningsområder

  • Litteraturhistoriografi
  • Litterære epoker (fra græsk og romersk antik til postmodernisme)
  • Kanon

Fingeraftryk

Fingeraftryk er baseret på at anvende teksten fra personernes videnskabelige dokumenter til at skabe et indeks med vægtede emneordskoncepter, som definerer de vigtigste emner for hver enkelt forsker.
  • 1 Lignende profiler

Netværk

Seneste eksterne samarbejde på lande-/områdeniveau. Dyk ned i detaljerne ved at klikke på prikkerne eller