Stockholm's Archipelago and Strindberg's
Yüklə 416,71 Kb. Pdf görüntüsü
|
89 Scandinavica Vol 52 No 2 2013 69 Tobias Dahlkvist (2012) argues that the Nietzschean trait in Borg is above all to be found in his frailty and modern nervousness, i.e., in the concept of the décadent rather than in that of the Übermensch. 70 In this respect I do not fully agree with Kylhammar, who argues that Borg’s project consists in the instrumental manipulation of nature, considered as an enemy (1985: 75-84). As Haverty Rugg (2012) has suggested, there is a clear environmental perspective in Borg’s consciousness. 71 See Johannesson 1968: 146-171, in particular p. 154-155 and 164. 72 According to Johannesson’s psychological reading, this return to the origin, and Borg’s final voluntary death at sea, represent a reunion with the Mother and with the primordial realm of the unconscious; see Johannesson 1968: 167-170. 73 Kärnell 1962: 211-233, proposes an illuminating comparison between Hemsöborna and I havsbandet as to the way images are used. In the earlier novel an ‘organic’ choice of metaphors prevails, since images are mostly taken from the semantic field of rural life and everyday occupations on the island. In the later novel, on the contrary, the similes indicate the protagonist’s sophisticated and intellectual approach, his wider perspectives, and his isolation among the islanders. 74 Strindberg, Brev, VII, februari 1888-december 1889, Utgivna av T. Eklund, Stockholm 1961: 313, 316-321. See Brandell 1985: 231-236. 75 Berendsohn 1962: 186-190; and Persson 2004: 201-216. 76 Strindberg also lived on Dalarö in August 1891 and the whole summer of 1892. Although the play Leka med elden (Playing with Fire) from 1892 takes place at a seaside resort, and is inspired by the author’s experiences on Dalarö in 1891, the archipelago environment does not appear. See Strindberg, Samlade
Persson 2004: 189-194, and Meidal 2012: 259. 77 See Graf 1965: 53-58; and Delumeau 1992: 23, 34-35, 229-230, 237-241. 78 Carlson 1979, in particular p. 15-46. Even Kymmendö, the greening island, is mentioned as Strindberg’s image of Eden (p. 17), but the archipelago remains outside the mythopoetic field investigated by Carlson. 79 See Wästberg 1973: 49-53; and Meidal 2012: 379-380. 80 Deuteronomy 27:11-13. Strindberg, Samlade Verk, LIX:1, Ockulta Dagboken, red. K. Petherick / G. Stockenström, Stockholm 2011: 197. 81 The concept of autobiographical space is introduced by Philippe Lejeune in Le pacte autobiographique (1975: 23 and 41-43, and with reference to André Gide: 189-217. The uses of the autobiographical space in Strindberg are explored in Robinson 1986, K. Dahlbäck 1991, and K. Dahlbäck 1994. 82 Strindberg, Samlade Verk, XLIV, Dödsdansen, red. H. Lindström, Stockholm 1988. 83 The motif of ‘Lilla helvetet’ (Little Hell) is already introduced by Alice in the first part of Dödsdansen; see SV XLIV: 109. In Wirmark 1989: 83-85, the outdoor space, the marine landscape, is interpreted as the metaphysical promise of liberation from the imprisoned human condition. 84 SV XLIV: 22: ‘[...] det är ett samfund av idioter [...]’. 85 SV XLIV: 117: ‘[KURT:] Om en timme äro vi i stan! Då skall du se vem jag är... 90 Scandinavica Vol 52 No 2 2013 [ALICE:] Så går vi på teatern i afton! för att visa oss! [...]’ 86 Wirmark 1989: 83: ‘Strindberg är medvetet inexakt när han förlägger sitt drama till en ö utan namn, en ö som ej kan pekas ut på kartan. Den saknar namn men kallas ’lilla helvetet’ av ortsbefolkningen. Staden dit båten går har inte heller något namn och man får inte veta hur många timmar det tar att resa dit’. (Strindberg is consciously inexact when he locates his play on an island without a name, an island which cannot be pointed out on a map. It is nameless but it is called ’the little hell’ by the locals. The town the boat goes to has not got a name either, and we do not get to know how many hours it takes to go there).
87 Strindberg, Samlade Verk, XLVI, Ett drömspel, red. G. Ollén, Stockholm 1988: 54-67, 71-80. In between: 67-71, the Officer’s dream of his maths test at school takes place. 88 This is even more true of Strindberg’s first revolutionary dream play, Till Damaskus I (To Damascus I) from 1898, Strindberg, Samlade Verk, XXXIX, Till Damaskus, red. G. Ollén, Stockholm 1991: 7-157. The Doctor’s house is the second station of the drama and, again, the second last station of it. The Doctor lives and works in the countryside, and his house is reached by a steamboat (SV XXXIX: 41: 153); this station is immediately after and before the starting and closing point of the drama, the Street Corner, i.e. the town. The fourth and fourth last stations are ‘By the Sea’, but they could be anywhere. Specific geographic determinations are avoided in this modern version of a Christian station drama about Everyman (See Ollén’s comment in SV XXXIX: 420). 89 The history of Furusund in described in Grönblad 1970; see in particular the time from the quarantine station to the seaside resort: 46-93. Some parts are also dedicated to Strindberg and Furusund; see p. 94-109, 119-121. As to Strindberg and Furusund see also Ollén 1942, and Persson 2004: 217-240. 90 Strindberg, Samlade Verk, L, Klostret. Fagervik och Skamsund, red. B. Ståhle Sjönell, Stockholm 1994: 113-238. The two stories called ‘Karantänmästarns Berättelser’ (SV L, pp. 153-254) (The Quarantine Master’s Stories) deal with unhappy marriages and are not set in the archipelago. The second of them is a version of the story about Strindberg’s second marriage, with Frida Uhl, better known as Klostret (The Cloister); compare SV L: 7-111 and 192-274. 91 SV L: 116: ‘Här ser allt ut vara ordnat till den tre månars långa fest, som heter sommaren’. 92 Strindberg, Samlade Verk, LI, Ordalek och småkonst och annan 1900-talslyrik, red. G. Ollén, Stockholm 1989: 7-84 and 85-198 respectively. 93 Ollén 1941: 13-18; as to the archipelago motif see p. 42-45. 94 Something of this spatial relation and atmosphere is detectable in the autobiographical novel Ensam (Alone) from 1903. The narrator and protagonist can at times long for nature, the coast and the sea, but has in any case decided to stay in town. See Strindberg, Samlade Verk, LII, Ensam. Sagor, red. O. Östin, Stockholm 1994: 22, 39-40, 50-52. See also Berendsohn 1962: 66-68. 95 The strong ritual character of summer celebration in the Stockholm area at the turn of the century is underscored in Wästberg 1973: 10. 96 Strindberg, Samlade Verk, LIII, Götiska Rummen, red. Conny Svensson, Stockholm 2001. 91 Scandinavica Vol 52 No 2 2013 97 Strindberg, Samlade Verk, LV, Taklagsöl. Syndabocken, red. B. Ståhle Sjönell, Stockholm 1984. 98 As to the modernistic quality of Taklagsöl see Johannesson 1968: 246-266, and Ståhle Sjönell 1986, in particular pp.121-161. 99 SV LV: 37: ‘Det var då jag upplevde två minuter, vilka stannat i mitt minne såsom verkligen motsvarande föreställningarne om De Saliges Öar och friden på jorden’. 100 Strindberg, Samlade Verk, LXV, En Blå Bok I, red. G. Ollén, Stockholm 1997: 188. See also, in the same book, the text ‘Den Grönskande Ön ‘(The Greening Island), where the recollection of the first encounter with the natural scenery on Kymmendö is compared to a vision of paradise: SV LXV: 28. 101
Strindberg, Samlade Verk, LXIII, Den världshistoriska trilogin. Dramafragment, red. G. Ollén, Stockholm 1996: 327-345. 102
Strindberg, Samlade Verk, LXXI, Essäer, tidningsartiklar och andra prosatexter 1900-1912, red. C. Svensson, Stockholm 2004: 102-115. 103
Strindberg, Samlade Verk, LXVII, En Blå Bok III-IV, red. G. Ollén, Stockholm 2000: 1451-1453. 104 Barbro Ståhle Sjönell argues convincingly, though, that the review of one’s life, which characterizes the moment after death in the above mentioned texts, also determines the structure of the dying man’s monologue in Taklagsöl, including the vision of a human reconciliation that reminds us of the Fortunate Isles: another case in which the material and the immaterial sphere can touch each other and almost merge (1986: 76, 90, 95-104). 105
Aspenström 1977: 78: ‘Ordet paradis är härlett från ett fornpersiskt, som betyder ringmur. Öar har inte sällan fått ersätta guldålderns inhägnade trädgårdar. Fördrivningen sköter vi själva, sedan gudarna dött’. Strindberg must have been familiar with such representations, since in the chamber play Pelikanen (The Pelican), from 1907, The Mother refers to Persian conceptions of paradise as a garden; see Strindberg, Samlade Verk, LVIII, Kammarspel, red. G. Ollén, Stockholm 1991: 290-291. As to Aspenström’s meditation on our conception of paradise, see the whole chapter: 71-78. In another chapter: 28- 48, Aspenström writes about living near Strindberg’s myth on Kymmendö, at his very doorstep. 106 Sten Selander, ‘Skärgården i litteraturen’, i Selander 1954: 445; and Wästberg 1973: 47. References Aspenström, W. (1977). Sommar, Stockholm: Bonnier. Barthes, R. (1957). Mythologies, Paris: Editions du Seuil. Berendsohn, W. A. (1962). August Strindbergs skärgårds- och
Sjögren.
92 Scandinavica Vol 52 No 2 2013 Berman, M. (1988) [1982]. All That Is Solid Melts into Air: The
Brandell, G. (1985). Strindberg – ett författarliv, II, Borta och hemma 1883-1894. Stockholm: Alba. Brandell, G. (1987). Strindberg – ett författarliv, I, Läroår och genombrott 1849-1883. Stockholm: Alba. Carlson, H. G. (1979). Strindberg och myterna. Trans. S.-E. Täckmark. Stockholm: Författarförlag. Ciaravolo, M. (2011). ‘Svenska Folket e la riflessione storiografica di Strindberg’, in: Ciaravolo, M. and Meregalli, A. (eds.), L’uso della storia
Milano: Cisalpino, pp.143-172. Ciaravolo, M. (2012a). ‘Stockholm-Paris: Interaction as Structure in
Ciaravolo, M. (2012b). ‘A Nineteenth-Century Long Poem Meets Modernity: Sleepwalking Nights’, in Westerståhl Stenport, A. (ed.),
Northwestern University Press, pp.167-193. Ciaravolo, M. (2012c). ‘Between Vision and Doubt. Re-assessing the Radicalism of Strindberg’s Italian Travel Writing and Likt och olikt (1884)’. Scandinavian Studies 84:3, pp.273-298. Dahlbäck, K. (1991). ‘Strindberg’s Autobiographical Space’, in Robinson, M. (ed.), Strindberg and Genre. Norwich: Norvik Press, pp.82-94. Dahlbäck, K. (1994): Ändå tycks allt vara osagt. August Strindberg
Dahlbäck, L. (1974). Strindbergs Hemsöborna. En monografi. Stockholm: Stockholm University (Dissertation). Dahlkvist, T. (2012). ‘By the Open Sea – A Decadent Novel? Reconsidering Relationships Between Nietzsche, Strindberg, and Fin- de-Siècle Culture’, in Westerståhl Stenport, A. (ed.), The International 93 Scandinavica Vol 52 No 2 2013 Strindberg. New Critical Essays. Evanston, Illinois: Northwestern University Press, pp.195-214. Delumeau, J. (1992). Une histoire du paradis. Le jardin des délices. Paris: Fayard. Edqvist S.-G. (1961). Samhällets fiende. En studie i Strindbergs
Eklund, H. and Sjöberg, G. A. (1983). Skärgården förr. Fotografiska dokument från Gräsö till Landsort. Stockholm: Natur och Kultur. Graf, A. (1965). Miti, leggende e superstizioni del Medio Evo, Vol. I, Il mito del paradiso terrestre. Il riposo dei dannati. La credenza nella fatalità. Bologna: Forni pp.XI-XXIII, 1-193. Grönblad, E. (1970). Furusund – ett skärgårgscentrum. Människor och miljö under fyra sekler. Stockholm: Natur och Kultur. Haverty Rugg, L. (2012). ‘Standing at the Bourne of the Modern: Strindberg’s Ecological Subject in By the Open Sea and His Archipelago Paintings’, in Westerståhl Stenport, A. (ed.), The International Strindberg. New Critical Essays. Evanston, Illinois: Northwestern University Press, pp.89-105. Hedenstierna, B. (2000a). Skärgårdsöar och fiskekobbar. Natur,
Hedenstierna, B. (2000b). Skärgårdsöar och fiskekobbar. Natur, bygd och näringsliv i Stockholms skärgård, Del II, Södra skärgården genom tiderna. Stockholm: Prisma. Jirlow. R. (1945). ‘August Strindberg och Kymmendö’. In: Boken om Ornö. Ornö: [Pastorsexp.], pp.149-179. Johannesson, E. O. (1968). The Novels of August Strindberg. A Study in Theme and Structure. Berkeley / Los Angeles: University of California Press. Kylhammar, M. (1985). Maskin och idyll. Teknik och pastorala ideal
Kärnell, K.-Å. (1962). Strindbergs bildspråk. En studie i prosastil. 94 Scandinavica Vol 52 No 2 2013 Stockholm: Almqvist & Wiksell. Köhn, E. (1989). Straßenrausch: Flanerie und kleine Form; Versuch zur Literaturgeschichte des Flaneurs bis 1933. Berlin: Das Arsenal. Lagercrantz. O. (1986) [1979]. August Strindberg. Stockholm: Wahlström & Widstrand. Larsson, C. (1992). Jag. En bok om och på både gott och ont, Stockholm: Forum. Lejeune, P. (1975). Le pacte autobiographique. Paris: Editions du Seuil. Lindeberg, K. and Utter Wahlström B.-M. (2007). Kymendö. Strindbergs Hemsö. Dalarö: Timendöö HB. Lotman, J. (1977). The Structure of the Artistic Text, Ann Arbor: The University of Michigan. Lotman, Y. (1990). ‘Artistic space in Gogol’s prose, Russian Literature 24, pp.199-241. Marchese, A. ([1983, 1990] 2009): L’officina del racconto. Semiotica della narratività, Milano: Mondadori. Meidal, B. (2003). ‘Förord’, in Strindberg, A., En berättelse från Stockholms skärgård. Stockholm: Rekolid, pp.I-VII. Meidal, B. (2012). Strindbergs världar, Wanselius, B. (photographic ed.). Stockholm: Max Ström. Ollén, G. (1941). Strindbergs 1900-talslyrik. Stockholm: Seelig. Ollén, G. (1942). ‘Strindberg i Furusund’. Ord och Bild 51, pp.83-91. Ollén, G. (1949). Strindbergs dramatik. Stockholm: Radiotjänst. Ollén, G. (1982). Strindbergs dramatik. Stockholm: Sveriges Radio. Persson, A. (2004).Vandra med August Strindberg: 12 vandringar i Stockholm och Stockholms skärgård. Stockholm: Prisma. Poulenard, E. (1959). Strindberg et Rousseau. Paris: Presses universitaires de France. Rasmusson, L. (2010). ‘Den älskade skärgården’, in Einhorn, L. (ed.), Om Strindberg. Stockholm: Norstedt, pp.36-47. 95 Scandinavica Vol 52 No 2 2013 Robinson, M. (1986). Strindberg and Autobiography. Writing and
Robinson, M. (2009). ‘Strindberg’s Works in Swedish and English’, in Robinson, M. (ed.), The Cambridge Companion To August Strindberg. Cambridge: Cambridge University Press, pp.XXXII-XXXVI. Rousseau, J.-J. (1975). Du contrat social et autres oeuvres politiques. Paris: Garnier freres. Sehlstedt, E. (1961). Dikter och prosa. Stockholm: Wahlström & Widstrand. Selander, S. (ed.) (1954). Stockholms skärgård. En bok om Sveriges
Strindberg, A. (1948-2001). Brev, I-XXII, Eklund, T. (I-XV) / Meidal, B. (XVI-XXII) (eds.). Stockholm: Bonnier (shortened B plus volume number in the references). Strindberg, A. (1981-2013). Samlade Verk, I-LXXII, Dahlbäck, L. (1981–2008) / Stam, P. (2009–) (eds.). Stockholm: Almqvist & Wiksell and Norstedt (shortened SV plus volume number in the references). Ståhle Sjönell, B. (1986). Strindbergs Taklagsöl – ett prosaexperiment. Stockholm: Almqvist & Wiksell International. Wirmark, M. (1989). Kampen med döden. En studie över Strindbergs Dödsdansen. Stockholm: Almqvist & Wiksell International. Wästberg, P. (1973). Sommaröarna. En bok om stockholmarnas skärgård. Stockholm: Wahlström och Widstrand. Yüklə 416,71 Kb. Dostları ilə paylaş:
|