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Intro -- Dedication -- Acknowledgments -- Contents -- List of Figures -- List of Tables -- Chapter 1: Introduction: Traversing Time, Place, and Space -- 1.1 Cosmopolitan Creeds and Transatlantic Gestures: Intersections in Music and Literature -- 1.2 Circles of Influences, Triangles of Affinities: Widening the Scope of Investigation -- 1.3 Cosmopolitan Dimensions: Conceptualizing Time and Space -- 1.4 Taking Back the Discourse: The Utility of Conflict in Cosmopolitan Networks -- 1.5 False Oppositions, "Real" Hybrids: Distance, Detachment, and the Problem of Definitions -- 1.6 Outline of Chapters -- References -- Chapter 2: Local Debates, International Partnerships: Garborg, Benzon, and Grieg's Idea of Cosmopolitanism -- 2.1 National Problems, Cosmopolitan Solutions: Timeless Principles or Emergent Moments? -- 2.2 Boundaries in Flux: The Polemics of a Country Divided -- 2.3 The Language Debate and the Dialectic of Identity -- 2.4 Courting the Other: Grieg's Both/And Affiliations -- 2.5 Vinje and the Problem of Historicism -- 2.6 From Literary Models to Musical Language: Grieg, Garborg, and the Path Toward Cosmopolitan Synthesis -- References -- Chapter 3: From Songs to Psalms: Grieg's Cosmopolitan Aesthetic -- 3.1 Universalism Found, Universalism Contested: Grieg, Benzon, and the Problem of Locality -- 3.2 Death and Despair as Universalizing Forces: "Beside Mother's Grave" (Ved Moders Grav), Op. 69, No. 3 -- 3.3 Cosmopolitan Conditions, Chromatic Techniques: "Eros," Op. 70, No. 1 -- 3.4 A System of Opposites or a Dialogue of Correspondences? -- 3.5 Cosmopolitan Layers in Grieg's Last Published Works: Four Psalms, Op. 74 -- 3.6 Cosmopolitanizing the Nation: A Survey of Grieg's Additive Layers -- References -- Chapter 4: Cosmopolitan Practices: Grieg, Grainger, and the Search for a Musical Analogue.
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