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English abstract: In this article, I will demonstrate how feasts and festivals serve as effective analytical tools to comprehend the diversity within the Hindu tradition. I will use the two festivals: Holī and Dīvalī as examples. Additionally, I aim to explore whether the historical anchors of a festival, or multiple anchors, have significance for the interpretative potential associated with the festival today. I will particularly focus on whether the festival is strongly or weakly tied to one or more myths and whether it has a tribal/early archaic or archaic origin. I will also investigate if certain festivals within the Hindu tradition seem more adaptable to new contexts outside of India than other. Dansk resume: I denne artikel vil jeg demonstrere, hvordan fester og festivaler er et godt analyseredskab til at forstå den hinduistiske tradition i sin mangfoldighed, men også til at undersøge, om festens historiske forankringspunkt eller forankringspunkter har betydning for det fortolkningspotentiale, man kan knytte til festen i dag. Her vil jeg særligt tage udgangspunkt i de to fester Holī og Dīvalī. Et analytisk omdrejningspunkt er, om festen knytter sig stærkt eller svagt til en eller flere myter, og om den har et tribalt/tidlig arkaisk eller et arkaisk ophav. Jeg vil også undersøge om visse fester inden for den hinduistiske er mere adaptiv til nye sammenhænge uden for Indien end andre. Keywords: Holī; Divāli; adaption; mythological strong, mythological weak

Title: Kjell Grede’s Hugo and Josephine. An Expression of Children’s Culture of Its Time and a Children’s Film of Tomorrow The debut feature film of director Kjell Grede, Hugo and Josephine (1967), is an adaptation of Maria Gripe’s literary trilogy and is often referred to as the best Swedish children’s film ever made. Upon its premiere, the film was very well received by the critics, but some also claimed that it wasn’t suitable for children. This article uses this ambivalence towards Hugo and Josephine as its starting point and demonstrates, via adaptation studies, film studies and childhood studies, how the film transgresses children’s film conventions. For example, my analysis of the film form reveals that Hugo and Josephine is a story largely taking place inside the protagonist. Therefore, it should not be seen as a realistic depiction of a series of events, but rather as a formation of a child’s apprehension of the same events. This filmic mode, which I term “a child’s realism”, can be interpreted through the liminal spacetime as well as hyperbolic and phantasmic occurrences. Also, the film thematises childhood as a social construction by presenting different ways of being a child and an adult respectively. In this way, Hugo and Josephine transgresses the children’s film conventions of the time and, concurrently, puts into question the boundaries between childhood and adulthood as well as the rigid division between fine arts for children and adults respectively. These social and artistic issues were highly topical towards the end of the 1960’s, and therefore Grede’s film is characteristic for its time. But simultaneously, it forebodes the artistically and thematically seminal Swedish films and TV series for children of the 1970’s.

This essay is an investigation into the use of the fable genre in a Danish children’s magazine, Avis for Børn (Journal for the children), published in Copenhagen 1779‒1782 by the philanthropist and editor Emanuel Balling. The main purpose is to indicate that the classical, Aesopian genre to some extent was transformed and adapted to fit into the didactic and religious purpose dominating this journal. Some examples from the old lore are given to substantiate the assumption that the attitude of the fable mainly was a very pragmatic one, without the moral and religious orientation typical of the stories presented in Avis for Børn. In nature, Avis for Børn would admire the reign of a benevolent God, while in ancient fable nature is a place reigned by brutes and by arbitrary bestiality. Nevertheless, the journal chose to make some meaningful, yet strained use of the genre, without twisting the genre into pastoral sentimentality, a tendency that during the 19th century in children’s literature became predominant.

This essay is an investigation into the use of the fable genre in a Danish children’s magazine, Avis for Børn (Journal for the children), published in Copenhagen 1779‒1782 by the philanthropist and editor Emanuel Balling. The main purpose is to indicate that the classical, Aesopian genre to some extent was transformed and adapted to fit into the didactic and religious purpose dominating this journal. Some examples from the old lore are given to substantiate the assumption that the attitude of the fable mainly was a very pragmatic one, without the moral and religious orientation typical of the stories presented in Avis for Børn. In nature, Avis for Børn would admire the reign of a benevolent God, while in ancient fable nature is a place reigned by brutes and by arbitrary bestiality. Nevertheless, the journal chose to make some meaningful, yet strained use of the genre, without twisting the genre into pastoral sentimentality, a tendency that during the 19th century in children’s literature became predominant. Keywords: Fable, adaption, enlightenment, journals for children, philantrophy, moral education, pragmatic didacticism, benevolent nature

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