Titlebook: Cosmopolitanism and Transatlantic Circles in Music and Literature; Ryan R. Weber Book 2018 The Editor(s) (if applicable) and The Author(s)

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Schlussbemerkung: kritisches Vor-Denken,e ways in which Grainger deviated from the ideas and practices of his colleagues when he later came to understand hybridity as a danger to his self-proclaimed “Nordic race.” A central factor in this transformation was his encounter with the literature of American eugenicists, especially the writings

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Situationsorientierter Einsatz,ase studies and contemporary issues of race and belonging. Reflecting on the perpetual expansion and contraction of identities amidst the often-conflicting imperatives of artists, this chapter also displays how cosmopolitanism’s disparate powers coexist because they are born of the same source: the

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Cosmopolitanism and Transatlantic Circles in Music and Literature978-3-030-01860-3Series ISSN 2946-5133 Series E-ISSN 2946-5141

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Introduction: Traversing Time, Place, and Space, Wagner and faced with increasing pressure at home to advocate only for the national domain, literature became a useful catalyst for producing a broader appeal and contesting hegemonic forces of exclusion sustained by artists and audiences alike. Therefore, this introductory section takes a revolvin

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Cosmopolitan Practices: Grieg, Grainger, and the Search for a Musical Analogue,ognizing these functions during a period when few others would. Their similar processes of blurring boundaries—stylistically, ideologically, and socially—became the foundation for a significant bond that shaped Granger’s career well into the twentieth century. By paying special attention to the expl

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Cosmopolitan Ideas: Grieg, MacDowell, and a Tale of , constructing a broader cosmopolitan identity. As their correspondence candidly acknowledges, this struggle did not occur in isolation. Each composer fostered a multilayered worldview based upon the values concurrently advanced by their literary colleagues, including Hamlin Garland and Arne Garborg.

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