Danish. If you’ve ever heard of a Danish philosopher, it’s probably Søren Kierkegaard. But 500 years before him, Boethius of Dacia reached a remarkably similar conclusion: that faith is both illogical and true. But to Boethius, the pagan philosophy of Aristotle and Ibn Rushd was more important to study than Christian dogma, making him and his disciples a target for one of the most sweeping persecutions of intellectuals in the European Middle Ages.
“Kender du heller ikke Boethius? Her er den store danske filosof, du aldrig har hørt om” (“You don’t know Boethius either? Here is the greatest Danish philosopher you’ve never heard of”), Politiken Historie (October 2020). Link.
Danish. Written for the outreach project “Kvinder rundt om kanon” (“Women around the canon”), which sought to map key female authors from the non-Western world, this short blog posts presents Enheduana’s life and works to a Danish audience.
“Den første kendte forfatter var en kvinde” (“The first known author was a woman”), Kvinder rundt om kanon, hosted by Aaby Library (June 2020). Link.
Danish. Written for a special issue on literary revivals, the essay discusses why the new Danish translation of Gilgamesh has garnered so much attention. As a key example of a literary revival, the translation combined the appeal of a new and unknown poem with that of a foundational and time-tested classic.
“‘Gilgamesh’: På kanten af kanon” (“‘Gilgamesh’: At the edge of the canon”), Standart, vol. 33, no. 2 (July 2019), pp. 42–43.
Danish. Translating ancient texts is a process of simplification: many manuscripts, variants, and versions are compressed into one book. But in turn, that book leads to many different encounters with the text, and can even occasion new and varied adaptations of it. In short, translation is an hourglass-like movement of condensation and expansion.
“‘Gilgamesh i ental” (“‘Gilgamesh’ in the singular”), Babelfisken (April 2019). Link.
The book is a new Danish translation of Gilgamesh, published in cooperation with the Danish poet (and my father) Morten Søndergaard. The translation employs a novel system to represent breaks in the text, a raised dot, devised by Åse Eg and Wrong Studio. Here you will tablet I of the translation.
With Morten Søndergaard, Gilgamesh, 2019, Copenhagen: Gyldendal.
Danish. The essay situates the current climate crisis in a broader historical context, examining our cultural experience of living through a “historical moment,” as well as the clashing time of climate change activism, which call for both fast-paced and long-sighted action at the same time.
“Klimaforandringerne har en fordel: Det historiske øjeblik tvinger os til at drømme” (“There is an upside to climate change: The historical moment forces us to dream”), Zetland (January 2019). Link.
In November 2018, I co-wrote an open letter to the management of Danish universities, calling for them to implement immediate, ambitious and long-term climate-friendly policies. The letter was signed by more than 700 researchers at Danish universities.
With Marc Malmdorf Andersen, “Let us show the way towards a more ambitious climate agenda,” open letter to Danish universities (November 2018). English version. Danish version.
Danish. The essay presents Gilgamesh to a wider Danish-speaking public, in an anthology of the fifty most important masterpieces in literary history.
“Sin-leqi-unnenni: Gilgamesh,” in 50 værker: Højdepunkter i verdenslitteraturen, edited by Mads Rosendahl Thomsen, Jakob Ladegaard, and Dan Ringgaard (2018, Aarhus: Aarhus University Press), pp. 9–13. Link.
Danish. The op-ed argues that, at the time of writing, there was a surprisingly large gap between how many people were concerned about climate change in Europe and how many people were thought to be concerned about climate change. An overwhelming majority (86% in Denmark, comparable figures can be found for the rest of Europe) wanted their politicians to propose ambitious climate policies, but this was far from apparent in public debate.
“Det er tid til at lukke klimakløften” (“It’s time to close the climate gap”), Jyllandsposten (May 2018). Op-ed on the climate change debate. Link.
Danish. The essay charts the reception of cuneiform cultures in modern Danish art. Four contemporary Danish artists have engaged with Gilgamesh, each of them highlighting a different aspect of the text, and three other artists (among them my mother) have engaged with Sumerian culture to explore the deepest layers of history.
“Hinsides tiderne: Oldtidens Irak i moderne dansk kunst” (”Beyond time: Ancient Iraq in contemporary Danish art”), Små fag, store horisonter: Småfagenes danske kulturhistorie i glimt, special issue of Tværkultur, vol. 7 (May 2017), pp. 35–55. Link.