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This master’s thesis aims to show how the Danish pastor, hymn writer, historian and poet N.F.S. Grundtvig conceived the dynamic function of Christian worship. The focus is Grundtvig’s concept of worship as a “poetic vessel of transportation” between di erent times and spaces, and the examination and analysis of two larger hymns from 1824 and 1826 is conducted on the basis of the formation of a theory which is founded on primarily three points of academic literature: The German philologist Erich Auerbach (1892–1952) in his essay Figura (1944) investigates the development of the very word ‘ gura’ through its use from early classical times through the early Christian reception of the biblical texts. Auerbach’s point is that the typological interpretation of historical gures in a literary context produces a language to describe a notion of timelessness or that of a point of “now” which unites the past with a future ful lment. He calls this Jederzeitlichkeit, and this concept is used as a basis for the analysis of Grundtvig’s hymns. Other points of theory include the Danish poet and critic Poul Borum’s description of Grundtvig’s kaleidoscopic world of vivid images with multiple interpretations and the descriptions of Grundtvig researchers Christian Thodberg and Lise Helweg of the “ gure V” as a structural background for many of Grundtvig’s hymns. The thesis develops these theoretical points as well as their relationship to literary phenomena in Grundtvig’s writings which they aim to explore. It is described how these phenomena are founded in Grundtvig’s theology and that especially the dynamics of the incarnation play a role in Grundtvig’s poetical and theological development of a concept of deformation of the borders of time and space. Christian Thodberg’s treatment of a similar theory based on his studies in Grundtvig’s work with ancient Greek hymns in 1837 is discussed, and this thesis argues that Thodberg’s views in placing the formation of this line of thought withi, This master’s thesis aims to show how the Danish pastor, hymn writer, historian and poet N.F.S. Grundtvig conceived the dynamic function of Christian worship. The focus is Grundtvig’s concept of worship as a “poetic vessel of transportation” between different times and spaces, and the examination and analysis of two larger hymns from 1824 and 1826 is conducted on the basis of the formation of a theory which is founded on primarily three points of academic literature: The German philologist Erich Auerbach (1892–1952) in his essay Figura (1944) investigates the development of the very word ‘figura’ through its use from early classical times through the early Christian reception of the biblical texts. Auerbach’s point is that the typological interpretation of historical figures in a literary context produces a language to describe a notion of timelessness or that of a point of “now” which unites the past with a future fulfilment. He calls this Jederzeitlichkeit, and this concept is used as a basis for the analysis of Grundtvig’s hymns. Other points of theory include the Danish poet and critic Poul Borum’s description of Grundtvig’s kaleidoscopic world of vivid images with multiple interpretations and the descriptions of Grundtvig researchers Christian Thodberg and Lise Helweg of the “figure V” as a structural background for many of Grundtvig’s hymns. The thesis develops these theoretical points as well as their relationship to literary phenomena in Grundtvig’s writings which they aim to explore. It is described how these phenomena are founded in Grundtvig’s theology and that especially the dynamics of the incarnation play a role in Grundtvig’s poetical and theological development of a concept of deformation of the borders of time and space. Christian Thodberg’s treatment of a similar theory based on his studies in Grundtvig’s work with ancient Greek hymns in 1837 is discussed, and this thesis argues that Thodberg’s views in placing the formation of this line o

This master’s thesis aims to show how the Danish pastor, hymn writer, historian and poet N.F.S. Grundtvig conceived the dynamic function of Christian worship. The focus is Grundtvig’s concept of worship as a “poetic vessel of transportation” between di erent times and spaces, and the examination and analysis of two larger hymns from 1824 and 1826 is conducted on the basis of the formation of a theory which is founded on primarily three points of academic literature: The German philologist Erich Auerbach (1892–1952) in his essay Figura (1944) investigates the development of the very word ‘ gura’ through its use from early classical times through the early Christian reception of the biblical texts. Auerbach’s point is that the typological interpretation of historical gures in a literary context produces a language to describe a notion of timelessness or that of a point of “now” which unites the past with a future ful lment. He calls this Jederzeitlichkeit, and this concept is used as a basis for the analysis of Grundtvig’s hymns. Other points of theory include the Danish poet and critic Poul Borum’s description of Grundtvig’s kaleidoscopic world of vivid images with multiple interpretations and the descriptions of Grundtvig researchers Christian Thodberg and Lise Helweg of the “ gure V” as a structural background for many of Grundtvig’s hymns. The thesis develops these theoretical points as well as their relationship to literary phenomena in Grundtvig’s writings which they aim to explore. It is described how these phenomena are founded in Grundtvig’s theology and that especially the dynamics of the incarnation play a role in Grundtvig’s poetical and theological development of a concept of deformation of the borders of time and space. Christian Thodberg’s treatment of a similar theory based on his studies in Grundtvig’s work with ancient Greek hymns in 1837 is discussed, and this thesis argues that Thodberg’s views in placing the formation of this line of thought withi, This master’s thesis aims to show how the Danish pastor, hymn writer, historian and poet N.F.S. Grundtvig conceived the dynamic function of Christian worship. The focus is Grundtvig’s concept of worship as a “poetic vessel of transportation” between different times and spaces, and the examination and analysis of two larger hymns from 1824 and 1826 is conducted on the basis of the formation of a theory which is founded on primarily three points of academic literature: The German philologist Erich Auerbach (1892–1952) in his essay Figura (1944) investigates the development of the very word ‘figura’ through its use from early classical times through the early Christian reception of the biblical texts. Auerbach’s point is that the typological interpretation of historical figures in a literary context produces a language to describe a notion of timelessness or that of a point of “now” which unites the past with a future fulfilment. He calls this Jederzeitlichkeit, and this concept is used as a basis for the analysis of Grundtvig’s hymns. Other points of theory include the Danish poet and critic Poul Borum’s description of Grundtvig’s kaleidoscopic world of vivid images with multiple interpretations and the descriptions of Grundtvig researchers Christian Thodberg and Lise Helweg of the “figure V” as a structural background for many of Grundtvig’s hymns. The thesis develops these theoretical points as well as their relationship to literary phenomena in Grundtvig’s writings which they aim to explore. It is described how these phenomena are founded in Grundtvig’s theology and that especially the dynamics of the incarnation play a role in Grundtvig’s poetical and theological development of a concept of deformation of the borders of time and space. Christian Thodberg’s treatment of a similar theory based on his studies in Grundtvig’s work with ancient Greek hymns in 1837 is discussed, and this thesis argues that Thodberg’s views in placing the formation of this line o

Beskriver Grundtvigs forhold til og brug af genrer. Først gives en præsentation af Grundtvigs teoretiske forståelse af genrer, dernæst følger en analyse af Grundtvigs faktiske brug af genrer i anmeldelser osv. Endelig gennemgås fire genrer i Grundtvigs forfatterskab, prædikenen, salmen, den faglige afhandling og langdigtet med henblik på at analysere deres brug af genremønstre og genrenormer.

Beskriver Grundtvigs forhold til og brug af genrer. Først gives en præsentation af Grundtvigs teoretiske forståelse af genrer, dernæst følger en analyse af Grundtvigs faktiske brug af genrer i anmeldelser osv. Endelig gennemgås fire genrer i Grundtvigs forfatterskab, prædikenen, salmen, den faglige afhandling og langdigtet med henblik på at analysere deres brug af genremønstre og genrenormer.

Beskriver Grundtvigs forhold til og brug af genrer. Først gives en præsentation af Grundtvigs teoretiske forståelse af genrer, dernæst følger en analyse af Grundtvigs faktiske brug af genrer i anmeldelser osv. Endelig gennemgås fire genrer i Grundtvigs forfatterskab, prædikenen, salmen, den faglige afhandling og langdigtet med henblik på at analysere deres brug af genremønstre og genrenormer.

Beskriver Grundtvigs forhold til og brug af genrer. Først gives en præsentation af Grundtvigs teoretiske forståelse af genrer, dernæst følger en analyse af Grundtvigs faktiske brug af genrer i anmeldelser osv. Endelig gennemgås fire genrer i Grundtvigs forfatterskab, prædikenen, salmen, den faglige afhandling og langdigtet med henblik på at analysere deres brug af genremønstre og genrenormer.