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????? ??? ??(Faroe Isalnds) ??? ????? ????? ??? ????? ??? ?? ???? ??? ???????? ??? ??? ??? ??? ??? ?? ??. ???, ???, ??? ??? ??-??? ???? ?? ??? ?? ?? ????? ????? ?? ??. ??? ????? ????? ???? ?? ???? ???, ?? ???? ???? ?? ??? ???? ?? ???? ??. ??? ???? ????? ????? ??? ??? ?? ¡®?????¡¯?? ??? ? ??? ? ? ??. ?? ?? ??? ?? ??? ????? ???? ??? ??? ?? ¡®??¡¯? ???? ??? ??? ???, ? ??? ????(world literature)??? ?? ? ??? ? ?? ??(place)? ?? ??? ???? ?????? ??. ?????? ??? ??? ???? ????, ????? ??????? ??? ??? ???? ???? ?? ??? ???-????? ???? ??? ??? ???, ??? ???? ???? ???????? ?????? ??? ??? ? ??? ??? ???? ??.
???-????? ????? ???? ?? ??? ???? ??? ??? ???? ?? ??? ?????? ??. ?? ????? ???? ???? ??? ?? ??, ?????? ???? ??? ????? ???? ????? ??? ??? ??? ??? ????? ??? ????? ????. ????, ??? ???? ??? ????? ????? ?? ??? ??? ???? ??? ??? ?? ???. ???? ???? ??? ???? ?? ???? ??? ????? ????. ??? ?? ???? ???? ????? ???? ??? ??? ??? ??? ??? ??? ??? ??? ?? ?? ??? ?? ??? ?? ????? ??.

Objectively Faroese culture is still in a postcolonial position or perhaps in a kind of relapsing position connected with the unsuccessfull struggle to become a sovereign nation-state. The struggle for linguistic, political, territorial, and literary-artistic autonomy has been the master narrative of Faroese culture for over a hundred years. Faroese culture is thus divided between the discrepancy of, on the one hand, the multi-track process of autonomy and, on the other hand, lack of sovereignty. Faroese literature in general is thus rightfully described as a ¡®writing back¡¯ to the imperial experience.
My own research into Faroese literature over the past years has considered perspectives that extend beyond ¡®the answer¡¯ to Denmark and the imperial experience, reaching into a broad experience of place that can be framed by world literature concepts. In order to explain the role of place in Faroese literature, fractures and overlaps between world literature and postcolonialism are of particular relevance, especially to the Danish-Faroese subcategory of Faroese literature, the hybridity of which cannot be fully explained within a classic postcolonial framework.
The geography lesson has continued in the whole of Faroese literature, which can be seen as a continual attempt to localise The Faroe Islands in the new world of modernity and modernism. No doubt, the strong sense of place in Faroese literature represents a deprived culture without any established literary and cultural publicity. The literary and cultural struggle for autonomy ¨C the discord concerning political status relative to Denmark ¨C contributes to the strong placial consciousness in Faroese literature. Postcolonialism is well-suited for describing this. However my focus on placemaking and locality building in (Danish-) Faroese literature reaches beyond narrow nationbuilding and the notion of the writing back from the empire. Eager to embrace Western influence Danish-Faroese literature in particular transcends the imperial experience and writes back as a rest in the West, i.e. as a non-metropolitan culture with European origins, which negotiates the massive influence from the Continent¡¯s urbanised civilisation. Re-routings within postcolonialism has placed a still greater focus on the relationship between literature¡¯s empire and empire¡¯s literature making it difficult to sharply distinguish between postcolonialism and world literature. The conception of place in Faroese literature in general is thus far from being legitimised on the basis of conceptions of de-colonised liberation. Place¡¯s meaningfulness in Faroese literature expands out into a geographical context, which cannot be fully explained by classic postcolonial dichotomies. By the same token, my approach to the works of Heinesen and Jacobsen to some extent is in line with critical postcolonial discourse concerning the blind reproduction of Western culture in terms of a progressive developmental logic.
The productive marginality of Danish-Faroese geomodernistic worldwriting finally has been depicted as a writing back to formal modernism. Heinesen's and Jacobsen's heterogenic aesthetic affiliations in particular and the inclusiveness of geomodernism in general frames a heterogeneous mode of expression capable of anthropology-like self-studies into one¡¯s own geography, entertaining, promoting knowledge, describing ripening and processes of formation, highlighting cultural narratives, connecting the particular and the universal etc. The co-existence of a variety of discourses in geographical modernism operates in the margin of the old modernism while its contextual and spacious poetics is more open to the dialogue between the Western cultural tradition and the rest of the world and in general tuned in for venturing into the outside world.