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.At the same time, however, there is somethingawkward and paradoxical in their efforts to revive and reuse other his-toric, cultural resources.They turned to a variety of forms, originatingin prehistoric Scandinavian mythology and iconography, which hadplayed a central role in Nazi ideology and propaganda, not only dur-ing the war itself, but right from the beginning of the formation of theNazi party and the earliest articulation of its political ambitions in the1920s.Scandinavia, or rather Der Norden in German, had been of cru-cial importance in the German nation-building enterprise since the latenineteenth century, and The North later reappeared in Nazi propa-ganda and ideological self-imagery (Henningsen et al.1997; Sørensenand Stråth 1997).Nevertheless, in the years immediately after the Second World War The North still transpired to be a vital concept, and it could apparently The Nordic Way Out 113be employed by writers from a new generation, such as Hansen, whoactually had a background in the resistance movement.The samenotions and the same terminology were used, but with fundamentallydifferent semantic content.Furthermore, the word Europe and theidea of the political unification of Europe seem to have been even morediscredited in those days than the phrase The North.2 In the first post-war years Europe was, not surprisingly, often associated with images ofwar and destruction.During the war, the word Europa had been widelyused in Nazi circles as alternatives to, and synonyms for, words suchas Neu-ordnung and Großraum.These words not only carried ideologi-cal and political meaning, but were also used in an economic context(Hardis 2003, 21; Lund 2005, 7).As a matter of fact, the word Europa(which is spelled the same way in German as in most Scandinavian lan-guages) had been so frequently used in Nazi propagandist contexts dur-ing the Second World War3 that immediately after the war it was hardlyregarded as an appropriate term in any kind of democratic discourseabout the political future.For intellectuals such as Martin A.Hansen and others, who were notaffiliated to a political party or movement, in contrast to, for example, aCommunist author and opinion leader such as Hans Kirk (1898 1962),it was difficult to define a position in the chaotic and harsh politicaland intellectual climate of the late 1940s (Thing 1997).The problemwas made worse because referring to the common northern culturalheritage, like the Viking era and the pagan Germanic past, had beenmuch discredited by their ideological and iconographical applicationby the Nazis.In the work of Martin A.Hansen and the group of young literary tal-ents around the journal Heretica we can observe a number of more or lessdesperate attempts to find viable ideological and aesthetic frames of ref-erence, or positions in the Danish cultural landscape that would separatethem from any of the dominant ideologies of the time: Communism,National Socialism and what might be called Americanism a portman-teau for a wide range of superficial forms of modernity such as consum-erism and popular entertainment.From their perspective, Communistswere, culturally speaking, puppets on a string, because they dependedentirely on the Soviet Communist Party, while radical nationalists weresidetracked because they were either imprisoned or completely occu-pied by evaluating their obvious political misjudgement during the war.The only real counterbalance to both Marxism and Nazism seemed tobe Americanism , which had the disadvantage that it involved consum-erism and brought the hazardous popular Anglo-Saxon youth culture 114 Henk van der Lietto Europe.In other words, in the eyes of these writers it seemed as ifdriving out the Nazi demon provided a new breeding ground for otherforms of barbarianism , not only Communism but also sheer unlimitedconsumerism and new forms of entertainment and artistic expressionthat might eradicate what was left of the European cultural heritageafter the Second World War.These issues in the Danish political and cultural debate in the late1940s find expression in the collection of essays by Martin A [ Pobierz caÅ‚ość w formacie PDF ]
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.At the same time, however, there is somethingawkward and paradoxical in their efforts to revive and reuse other his-toric, cultural resources.They turned to a variety of forms, originatingin prehistoric Scandinavian mythology and iconography, which hadplayed a central role in Nazi ideology and propaganda, not only dur-ing the war itself, but right from the beginning of the formation of theNazi party and the earliest articulation of its political ambitions in the1920s.Scandinavia, or rather Der Norden in German, had been of cru-cial importance in the German nation-building enterprise since the latenineteenth century, and The North later reappeared in Nazi propa-ganda and ideological self-imagery (Henningsen et al.1997; Sørensenand Stråth 1997).Nevertheless, in the years immediately after the Second World War The North still transpired to be a vital concept, and it could apparently The Nordic Way Out 113be employed by writers from a new generation, such as Hansen, whoactually had a background in the resistance movement.The samenotions and the same terminology were used, but with fundamentallydifferent semantic content.Furthermore, the word Europe and theidea of the political unification of Europe seem to have been even morediscredited in those days than the phrase The North.2 In the first post-war years Europe was, not surprisingly, often associated with images ofwar and destruction.During the war, the word Europa had been widelyused in Nazi circles as alternatives to, and synonyms for, words suchas Neu-ordnung and Großraum.These words not only carried ideologi-cal and political meaning, but were also used in an economic context(Hardis 2003, 21; Lund 2005, 7).As a matter of fact, the word Europa(which is spelled the same way in German as in most Scandinavian lan-guages) had been so frequently used in Nazi propagandist contexts dur-ing the Second World War3 that immediately after the war it was hardlyregarded as an appropriate term in any kind of democratic discourseabout the political future.For intellectuals such as Martin A.Hansen and others, who were notaffiliated to a political party or movement, in contrast to, for example, aCommunist author and opinion leader such as Hans Kirk (1898 1962),it was difficult to define a position in the chaotic and harsh politicaland intellectual climate of the late 1940s (Thing 1997).The problemwas made worse because referring to the common northern culturalheritage, like the Viking era and the pagan Germanic past, had beenmuch discredited by their ideological and iconographical applicationby the Nazis.In the work of Martin A.Hansen and the group of young literary tal-ents around the journal Heretica we can observe a number of more or lessdesperate attempts to find viable ideological and aesthetic frames of ref-erence, or positions in the Danish cultural landscape that would separatethem from any of the dominant ideologies of the time: Communism,National Socialism and what might be called Americanism a portman-teau for a wide range of superficial forms of modernity such as consum-erism and popular entertainment.From their perspective, Communistswere, culturally speaking, puppets on a string, because they dependedentirely on the Soviet Communist Party, while radical nationalists weresidetracked because they were either imprisoned or completely occu-pied by evaluating their obvious political misjudgement during the war.The only real counterbalance to both Marxism and Nazism seemed tobe Americanism , which had the disadvantage that it involved consum-erism and brought the hazardous popular Anglo-Saxon youth culture 114 Henk van der Lietto Europe.In other words, in the eyes of these writers it seemed as ifdriving out the Nazi demon provided a new breeding ground for otherforms of barbarianism , not only Communism but also sheer unlimitedconsumerism and new forms of entertainment and artistic expressionthat might eradicate what was left of the European cultural heritageafter the Second World War.These issues in the Danish political and cultural debate in the late1940s find expression in the collection of essays by Martin A [ Pobierz caÅ‚ość w formacie PDF ]