Diss. Stockholm : Stockholms universitet, 2009.

The point of departure for this study is the meeting-place between an author and his times. Both in his youth and in later years, August Strindberg was in bitter conflict with the Swedish Establishment. At the turn of the century, however, when the fifty-year-old author returned to Stockholm after many years of exile, he was able to be accepted by the cultural community in the country of his birth. This fact is studied here both from the point of view of a change in Strindberg's own attitudes, and of the changes that had taken place in Sweden during the author's exile. In the early 1880s, Strindberg had challenged accepted truths by writing a work of considerable proportions dealing with the history of the Swedish people, this in conscious opposition to the established view of history which was primarily concerned with the history of its monarchs, Strindberg was criticised both by the Press and by history scholars, and the reaction contributed to his decision to leave the country. By the turn of the century, considerable changes had taken place. Sweden had become an industrialized country, and the emerging middle class had made its mark on the philo­sophy of the time and also gained control of the organs of public opinion. Because Strindberg only wrote plays at this time, a considerable amount of attention is given in the dissertation to the development of the Stockholm theatre. Privately-owned theatres had now come to replace the earlier Royal theatre monopoly. On his return, Strindberg set about writing historical dramas. He was now willing to cater to the conservative views that he had fought against twenty years previously. He wrote of the Swedish monarchs and tried to satisfy the demands of an earlier period for dramas with historical facts that were completely correct. In the autumn of 1899 while he was busy writing "Gustaf Adolf " (Gustavus Adolphus), his recently-completed plays "Gustaf Vasa" and "Erik XIV" were being performed at the Svenska teatern in Stockholm. It now became apparent that the majority of critics regarded esthetic considerations as being more important than those of historical accuracy, and that they also prefered to see the monarchs portrayed as psychologically credible figures rather than as impersonal, glorified hero figures. Only the most conservative critics failed to hold this view. Despite the resounding success of both "Gustaf Vasa" and "Erik XIV", Strindberg tried in his new play to cater even to his few adversaries. He engaged in deep historical studies and peppered the play with historical details, resulting in a play that is inordi­nately long and very difficult to manage. However, concerning the main character, Strindberg was unable to pander to con­servative criticism. Fundemental artistic characteristics reemerged and transformed the 17th century monarch into a problematic individual who undergoes a personal develop­ment, laboriously seeking the right road. He has to battle with religious intolerance, his role as monarch, his understanding of the world, and his personal dreams of power. When "Gustaf Adolf" appeared in the bookshops in autumn 1900, the critics were unanimous in the belief that Strindberg had succeeded in his depiction of history. On the other hand, many felt that he had degraded the hero-king by giving him personal problems / digitalisering@umu

Thesis (doctoral)--Uppsala universitet, 1988. / Summary in English. Includes index. Bibliography: p. 234-239.

Thesis (doctoral)--Universitetet i Umeå, 1984. / Summary in English. Added t.p. with thesis statement and abstract in English inserted. Includes bibliographical references (p. 258-264) and index.

This study embarks on an art-historical exploration of August Strindberg's connections with various artistic movements, specifically Realism, Post-Impressionism, and Expressionism. It aims to deepen the understanding of the influence these movements had on Strindberg's creative output and how his artistic works, in turn, mirrored and contributed to the development of artistic trends. The study begins by situating Strindberg within the Realism context, analyzing his representation of nature through a formal analysis lens, and drawing parallels with the broader philosophical reflections inherent in Realist art. It then transitions to an examination of Post-Impressionism, unveiling Strindberg's engagement with the movement's dynamic use of color and his manipulation of form to evoke emotional resonance. Furthermore, the study delves into an analysis of Strindberg's interactions with Expressionist artistic currents, thus emphasizing his further evolution of artistic style in terms of emotional intensity and personal expressions of the artist. The concluding section discusses findings aimed at characterizing Strindberg's painting as a form of distinct individuality, though rooted in the artistic currents of his time. It is suggested that further research into Strindberg's integration of these movements could illuminate his role as a precursor to contemporary artistic expressions, potentially influencing subsequent art forms.  Thus, the study presents a concise comprehensive analysis of August Strindberg's mastery within the context of significant artistic movements, proposing that his work resonates with the aesthetic and emotional undercurrents of his era and transcends them to offer a unique perspective on the evolution of modern art.

No description available.

This thesis is a ”meta-analysis” that investigates the apparent lack of coherence in August Strindberg’s A Dream Play and how this has been dealt with by scholars in literary and theatre studies. The primary material consists of a selection of research publications dated from the 1920’s up until the present day. The analysis concludes that there are four major groups of analyses that, in this regard, provide different solutions on how to counter this seeming deficiency. On the back of this, four general arguments are examined in detail: early attempts to classify this enigmatic drama with regard to genre, psychological analysis, analysis of philosophical ideas and contents, and analysis of the visual aspects of the play. By arguing along these lines of inquiry, scholars wish to substantiate the validity of various elements that harmonize the apparent disparity of the play and exhibit a coherent sequence of events and an interpretable meaning. Moreover, the ways in which these ”solutions” are substantiated and conveyed, that is, the argumentative practices, are examined and critically evaluated. Finally, based on the previous analysis, suggestions pertaining to further areas of research are offered and briefly discussed.

Augustas Strindbergas (1849-1912) – švedų dramaturgas, moderniojo teatro pradininkas, pirmasis literatūroje panaudojęs siurrealistinę stilistiką. Dramaturgo domėjimasis sapnais, pasąmone, mitologija, religija, ezoterika atsispindėjo vėlyvajame kūrybos laikotarpyje parašytose sąlygiškosiose pjesėse – „Kelias į Damaską” (1898-1904), „Sapnas” (1902) ir „Šmėklų sonata“ (1907). A. Strindbergas šioje trilogijoje atvėrė kolektyvinėje pasąmonėje slypinčius herojaus ir motinos archetipus. Herojaus archetipas išreiškia žmogaus dvasios įkalinimą materialiojoje realybėje – Žemės Motinos karalystėje. Darbe siekiama pažvelgti į tai, kaip šie archetipiniai įvaizdžiai yra atskleidžiami rašytojo sąlygiškosiose pjesėse ir pagal jas pastatytuose lietuvių režisierių darbuose. Darbe analizuojami šie spektakliai: G. Padegimo „Kelyje į Damaską” (1986, KVDT), „Šmėklų sonata” (1998, KVDT), S. Varno „Sapnas” (1994, PDT), J. Vaitkaus „Sapnas” (1995, LVADT) ir O. Koršunovo „Kelias į Damaską” (2007, KDT). Atlikus dramų analizę, nustatyta, jog A. Strindbergo pjesėse tamsiosios Žemės Motinos archetipas perteikiamas per gyvenimo-sapno metaforą, kuomet materialioji realybė vaizduojama kaip iliuzinis, netikras, sapniškas pasaulis, sudarytas iš prieštaringų gėrio ir blogio polių. Herojaus archetipinį įvaizdį dramose įkūnija pagrindiniai veikėjai, o antraeiliai personažai dramaturgo vaizduojami kaip tam tikri skirtingi pagrindinių veikėjų vidiniai aspektai. Ištyrinėjus spektaklius, prieita prie išvados, jog G... [toliau žr. visą tekstą] / August Strindberg (1849-1912) – Swedish playwright, the first who used surrealist stylistics in literature, the father of modern theatre. He was studying dreams, unconscious, mythology, religion, occultism, gnosticism – he used these knowledge in conventional dramas, written in his late period of his creation: To Damascus (1898-1904), A Dream Play (1902) and The Ghost Sonata (1907). In this trilogy A. Strindberg opened archetypes of collective unconscious – the mother and the hero. The archetype of hero means imprisonment of human soul in the material reality – the kingdom of Terrible Mother. This work is dedicated to look how these These archetypal images are represented by writer and in the performances of Lithuanian directors: To Damascus (1986, KVDT) and The Ghost Sonata (1998, KVDT) of G. Padegimas, A Dream Play (1994, PDT) of S. Varnas and To Damascus (2007, KDT) of O. Koršunovas. The results of analysis of plays showed that the archetype of Terrible Mother in A. Strindberg‘s plays is conveyed through life-dream metaphor, when the material reality portrayed as a illusory dream world, consists of the contradictory poles of good and evil. The main actors in dramas embody an archetypal image of the hero, and secondary characters are portrayed as a number of different aspects of the hero’s inner world. Explored performances led to the conclusion, that G. Padegimas and O. Koršunovas use the spiritual journey archetype, S. Varnas and J. Vaitkus – the Terrible Mother... [to full text]

Thèse complémentaire--Paris. / Includes bibliographical references.

The goal of this Master's Thesis is to bring out the literary aspects of August Strindberg's correspondence, with an emphasis on the love letters to his first and third wives, Siri von Essen and Harriet Bosse. A complete translation of Strindberg's letters into Czech is still lacking, even though this is, by volume, the greatest part of his work. A translation of his correspondence might alleviate his image as a spiteful misogynist in the Czech literary sciences, and above all may yield a new impulse to interpret Strindberg's dramas and may even inspire their more frequent presence on the Czech stage. In the first, theoretical part of this work, the literary nature of the love letter is described, along with the possibility of reading it as an epistolary novel; the similarity of Strindberg's expressive style to that of mediaeval troubadours is pointed out. In the second part, select passages of the correspondence are introduced with an exegetic commentary.