During the whole of his writing career August Strindberg was a restless canon-maker. In his capacity as writer, librarian, cultural scholar, polemicist and amateur researcher he constantly quoted ...sources, both historical and contemporary, included and excluded certain authors in his own work, as well as re-evaluated the boundaries of aesthetics and culture around the turn of the twentieth century. At the same time, he was a very active author in his own right, living in self-imposed exile but in close contact with cosmopolitan intellectual circles. All of this raises questions about his relationship with the literary and cultural canon. The dynamics between local and global culture define the whole of his oeuvre and make him one of those European authors who are readily interpreted in the context of Weltlitemtur .
Strindberg was a multilingual cosmopolitan, an emigrant, theosophist, and reporter. In his capacity as a writer, with his gaze trained upon both East and West, he absorbed impressions from the universalist tendencies of the J7W de siecle. His ambition to join the global "Republic of Letters" led him to study French, Hebrew, the Chinese system of logograms, Russian literature, and the history of the Middle East. This volume, edited by Jan Balbierz, gathers contributions from renowned Strindberg scholars and discusses questions, such as: How did Strindberg construct his predecessors and which traditions did he associate himself with? How is a Strindbergian text altered in performative practice in theatre and film? How did Strindberg, whose writings are deeply rooted in Swedish folklore and landscape, relate to foreign cultural.
Sweden's August Strindberg (1849-1912) has long been recognised as one of the leading dramatists around the turn of the last century. His electrifying theatre work resonated with the public in his ...lifetime, and continues to grip playwrights and audien.
Locating August Strindberg's prose Stenport, Anna Westerståhl
Locating August Strindberg's prose,
c2010, 20101231, 2010, 2010-11-01, 2010-12-31
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By contextualizing August Strindberg against other early modernists, including Kafka, Conrad, Rilke, and Breton, Stenport emphasizes the burgeoning transnationality of literature at the turn of the ...last century.
Strindberg on International Stages and Strindberg in Translation is a collection of scholarly and critical articles looking upon Strindberg from different perspectives. Three articles are case ...studies about Strindberg performances in different countries: namely, the United States, Italy and Portugal. Three further articles approach the problems of the transformation of the text on the stage. One of these essays is based on Strindbergs texts about drama from an aesthetical point of view; ano.
Re-reading instances of same-sex desire in August Strindberg’s Giftas (1884, 1886) and in particular one story in Giftas II “Den brottsliga naturen” “ e Criminal Nature”, this article utilizes the ...tools of contemporary queer theory and a Platonic lens inspired by textual allusions to classical discourse throughout both volumes of Giftas to provide new insights into Strindberg’s interest in non- normative categories. The article investigates the possibility that Strindberg perceived non-normative sexualities as useful in attempting to free himself epistemologically from the bounds of heteronormative marital conventions. Understanding this power of queerness to disrupt institutional heteronormativity seems just as relevant to contemporary discourses about rethinking hegemonies and systems of knowledge production. Throughout both volumes of Giftas, Strindberg continually champions what he calls “andligt äktenskap” “spiritual marriage”, a union that escapes bourgeois marital convention while providing a space that might allow two people to expe- rience each other’s true selves. Allusions to Plato and other pre-modern discourse provide Strindberg with a transcendental model of homoeroticism which may assist in understanding Strindberg’s concept of “spiritual marriage” and provide a potential way of placing “Den brottsliga naturen” – a story of same-sex desire – in the context of a larger framework of stories focused on opposite-sex marriage. This article does not argue that the deconstruction of heteronormativity itself is ever truly Strindberg’s aim, nor will the paper seek to recuperate either the misogyny or the appropriation of queerness to wrestle with heterosexual desire. Strindberg filters this exploration of queerness through a privileged position of a white, cisgender male who can appropriate a queer lens when convenient to his project of reconstructing a more satisfying version of heterosexual marriage. However, Strindberg’s possible recognition of the potential of queerness to disrupt heteronormative conventions and to imagine contemporary futures free from those conventions is just as controversial today as it was in his own time.
"Maya tells me you're applying to law school," he said, examining the wine bottle with a pouty, scowling expression best described as Parisian. ...Hams became a kind of unfunny Cosmo Kramer figure, a ...Belgian Kramer, someone who often appeared unannounced at Maya/Jerry's apartment, where I/George(?) spent most of my time, when not at work or in my room, crushing tallboys and online shopping, blowing the minimal amount of money I made by working full-time as a representative for a dubious call centre, called Canada United Creative Communications Solutions (CUCC Solutions, for short), on designer trousers I couldn't afford. Another winter day, after appearing uninvited at a café where Maya and I were typing away-she was editing her novel manuscript and I was trying to study for the LSAT but mostly online shopping-he asked to use Maya's MacBook, so that he could show us a short film he'd uploaded earlier that day to Vimeo. " "Curious," I said, some days later, as Maya and I strolled hand-in-hand-or more precisely, glove-in-mitten-through Trinity Bellwoods toward her favourite restaurant on Queen Street, "has Harris ever had his films accepted to a festival?" "I don't think so, no.
Generally considered one of milestones in the development of modern drama, August Strindberg's chamber play The Ghost Sonata (1907) has variously been hailed as the first expressionist, surrealist ...and absurdist drama.
Novelist, satirist, poet, photographer, painter, alchemist, and hellraiser-August Strindberg was all these, and yet he is principally known, in Arthur Miller's words, as "the mad inventor of modern ...theater" who led playwriting out of the polite drawing room into the snakepit of psychological warfare. This biography, supported by extensive new research, describes the eventful and complicated life of one of the great literary figures in world literature. Sue Prideaux organizes Strindberg's story into a gripping and highly readable narrative that both illuminates his work and restores humor and humanity to a man often shrugged off as too difficult.
Best known for his playMiss Julie,Strindberg wrote sixty other plays, three books of poetry, eighteen novels, and nine autobiographies. Even more than most, Strindberg is a writer whose life sheds invaluable light on his work. Prideaux explores Strindberg's many art-life connections, revealing for the first time the originals who inspired the characters of Miss Julie and her servant Jean, the bizarre circumstances in which the play was written, and the real suicide that inspired the shattering ending of the play. Recounting the playwright's journey through the "real" world as well as the world of belief and ideas, Prideaux marks the centenary of Strindberg's death in 1912 with a biography worthy of the man who laid the foundation for Western drama through the twentieth century and even into the twenty-first.
While Woyzeck was not performed until well after its publication, the playwright’s personal connection with neurological research makes it a fascinating case study of how the previous gestural system ...was reimagined as indicative of the psyche. An impressively detailed study, the book manages to bring together multiple modes of theatre and performance across Western Europe to illustrate connections between Western medical advancements in neurophysiology and the understanding of stage gestures as a semiotics of the mind. The book’s nuanced and profound exploration of how emerging neurophysiological ideas intertwined with performance both onstage and off makes this text essential reading to anyone interested in the medicalized subject or in the effect of neuroscience upon the cultural history of Western Europe.
Eugene O'Neill's autobiographical tragedies, such as Dynamo, Days Without End, The Iceman Cometh and More Stately Mansions, are characteristic of the misogynistic murder motif. In these tragedies, ...the male protagonists actually kill or are motivated to kill their mistresses, wives and mothers. We argue that this unique phenomenon is in essence a matricide in disguise, which originated from August Strindberg's philosophy of misogyny and O'Neill's own adolescent psychological trauma. The revelation of O'Neill's misogynistic murder motif and its genealogical origin from the perspective of biographical criticism helps to explicate the dramatist's sense about the tragic fate of human beings.
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