Bengt Lidforss (1868–1913) was professor of botany between 1910 and 1913. But after the turn of the century he also emerged as a charismatic leader within the Swedish working-class movement. He ...became one of its foremost publicists. In the social democratic newspaper Arbetet in Malmö he wrote about natural sciences but also about political, philosophical and literary issues. As a literary critic Lidforss was the keenest protector of the Scanian literary school, and his struggle for Ola Hansson and Vilhelm Ekelund has made its mark in Swedish literary history, as have his contributions in favour of Gustaf Fröding and August Strindberg, culminating in the polemic articles during the Strindberg Feud (1910–11). Skönhetsdyrkare och socialdemokrat. Studier i Bengt Lidforss litteraturkritiska gärning (Worshipper of Beauty And Social Democrat. Studies in Bengt Lidforss’ Achievement As A Literary Critic) emphasises the paradoxic combination of Lidforss’ fundamentally socialist views and a strong belief in art. To him art was not isolated from society but quite the contrary; a significant factor in the changing of society. The new socialistic human being should be ennobled by arts instead of emasculated by religion. With the help of Pierre Bourdieu’s concept of “field”, it is shown how Lidforss, by attacking leading middle-class newspapers and publicists, created for himself and Arbetet a constantly stronger position within the field of journalism. Within the field of literary criticism he attacked the middle-class critics, and thus participated in associating Strindberg and Fröding as well as the young Scanian writers with the working-class movement. Lidforss’ literary taste was seen as an alternative to middle-class taste and the worshipping of beauty thereby became fashionable among socialists. The fact that one finds sympathies not only for symbolism but also for decadent descriptions with Lidforss the socialist, has to do with the fact that the descriptions of the discomfort of the heroes revealed the disadvantages of the capitalist society. Nevertheless Lidforss’ issued warnings against programmatic pessimism, since he was of the opinion that literature should strengthen people in their struggle. When it came to the plight of the human being under capitalism he was a pessimist, but he believed the stronger in a future socialist society. The terms for the artists would be more tolerable in such a society, he prophesied. He admitted that revolutionary poetry could be useful but was of the opinion that the quality of art would lessen if it consciously served politics. The revolutionary poetry he praised in his reviews was poetry he found genuine and coming from the heart. He did not favour pronounced tendencies, but he liked to use poetry in a political context.
Bengt Lidforss (1868–1913) var botaniker, men också publicist och socialist. Skandalomsusad och färgstark har han porträtterats av ett stort antal skönlitterära författare, allt ifrån August Strindberg till Inger Alfvén. Hans mångsidiga medarbetarskap i Arbetet hjälpte tidningen fram till en uppmärksammad position. I denna bok skildras hans kamp för en ledande position också inom det litterära fältet. Lidforss var en skönhetsdyrkare av stora mått men samtidigt socialdemokrat. Detta ledde till att han stred på många kulturella arenor – inte bara mot kritiker, författare, och Svenska Akademien, utan också mot inflytelserika män inom kyrka och politik. Skönhetsdyrkare och socialdemokrat ger oss oväntade svar på vad dessa bataljer handlade om och vi får möta Lidforss samtida giganter som Fredrik Böök, Vilhelm Ekelund, Albert Engström, Verner von Heidenstam, Oscar Levertin, August Strindberg med flera.
Provider: - Institution: - Data provided by Europeana Collections- Francisco Ayala, un escritor en la vanguardia de su tiempo. Vanguardia en sentido literario y artístico y vanguardia en el sentido ...práctico y de la realidad social. Ayala no es un mero espectador ante el nacimiento del séptimo arte, el fenómeno social, comunicativo y artístico del siglo XX por excelencia; sino que indagó en él y profundizó en sus técnicas expresivas hasta el punto de que se ha llegado a afirmar que Ayala escribe con una cámara. Partiendo de la aportación teórica y ensayística de Ayala es posible comprender el apasionamiento del escritor por el cine y por su tiempo y cómo esto se refleja en términos expresivos en obras como El Jardín de las Delicias, Cazador en el alba o Historia de un amanecer.- Francisco Ayala is a writer in the vanguard of his time. On the sense of art and literature but on a sense social sense too. Ayala is not just an onlooker in front of the first steps of the seventh art, the most important phenomena in terms of society, communication and art on the 20th century. He reached deeper about this. Even it is said that Ayala writes with a camera. Firstly, assuming the different essays it is possible to deal with the writer's keen about cinema what is possible to be read in some works like El Jardín de las Delicias or Historia de un amanecer.- Francisco Ayala, un écrivain á l'avant-garde de son temps. Avant-garde au sens littéraire et artistique, avant-garde au sens pratique et de la réalité sociale. Ayala n'est pas un simple spectateur face á la naissance du septiéme art, le phénoméne social, communicatif et artistique par excellence, mais il y a réfléchi et il en a analysé a fond les techniques d'expression a un point tel qu'on a pu diré qu'Ayala écrit avec une camera. En partant des apports théoriques d'Ayala dans ses essais, il est possible de comprendre la passion de l'écrivain pour le cinema et pour son époque, et comment cela se refléte en termes d'expression dans des oeuvres comme El jardín de las delicias, Cazador en el alba, ou Historia de un amanecer.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
