Etudes Germaniques - N4/2013 [French]

By Klincksieck

Gunnel ENGWALL Strindberg, journaliste francais During his lifetime, August Strindberg participated not only in the Swedish newspaper debate but also in the French. The first contribution was published in 1883 and the last in 1911, with a concentration to the years 1885-1887 and 1894-1898, e.g. during Strindberg's longer stays in France. The texts, written by the author directly in French or translated by others, represent a number of different genres, and were published in several of the most well-known journals of the time. A concluding annex presents a chronological list with references to all contributions by Strindberg in French journals. Under sin livstid deltog August Strindberg inte bara i den svenska tidningsdebatten utan aven i den franska. Det forsta bidraget publicerades ar 1883 och det sista ar 1911, med en koncentration under aren 1885-1887 och 1894-1898, dvs. under Strindbergs langre Frankrikevistelser. Texterna, som Strindberg skrivit direkt pa franska eller som har oversatts av andra, faller inom en rad olika genrer och publicerades i flera av datidens mest valkanda tidskrifter. Ett avslutande appendix innehaller en kronologisk lista med referenser till Strindbergs samtliga bidrag i den franska pressen. Mickaelle CEDERGREN L'Ambivalence d'un positionnement litteraire: Strindberg face a la Suede et la France entre 1898 et 1902 This article evaluates how Strindberg positions himself in Sweden and France between 1898 and 1902. Strindberg returns to Sweden from his travels to renew the art of theatre, while maintaining a keen interest in affairs outside of Sweden, and especially in France. Looking at Strindberg's correspondence and the reception of his work, it becomes clear that he wishes to forge links with the former naturalists, now converted, in order to break new ground. He sets out to innovate, and presents himself as an avant-gardist and a challenger. The theoretical basis of this study is taken from Bourdieu's and Maingueneau's hypotheses regarding the strategies the author adopts to position himself within the literary field. Through an investigation of Strindberg's statements and action strategies it is clear that he is trying to free himself from the Swedish literary, political and religious establishment and to become a secular theist , for fear of being labelled a Catholic sympathizer. I denna studie har vi studerat hur Strindberg positionerar sig i Sverige och Frankrike mellan 1898 och 1902. Efter hans hemkomst fran utlandet fornyar Strindberg teaterkonsten och fortsatter samtidigt att hysa intresse for varlden och speciellt for Frankrike. Med utgangspunkt i Strindbergs brevvaxling och mottagandet av hans verk blir det uppenbart att han vill narma sig de fore detta naturalisterna och nyblivna konvertiterna i syfte att bryta ny mark. Han vill gora slut med det gamla och framsta som avantgardist och motstandare. Som teoretisk utgangspunkt anvands Bourdieus och Maingueneaus hypoteser angaende de strategier som forfattaren anvander for att positionera sig inom det litterara faltet. Undersokningen av Strindbergs uttalanden och handlingsstrategier visar darmed att han forsoker frigora sig fran det litterara, politiska och religiosa svenska etablissemanget och av radsla for att stamplas som katolsk sympatisor gor han sig till konfessionslos teist . Edouard ROLLAND Du hasard creatif chez August Strindberg Marcel Duchamp is generally considered as the first artist having worked on chance in his work, in particular with his masterpiece of 1913, "Trois Stoppages Etalon". However, in 1894, about twenty years before Marcel Duchamp, August Strindberg had already studied and experiented chance in his artistic work when he published a small book entitled Du Hasard dans la production artistique. In this book, Strindberg evokes his funny experiments concerning chance, in music, in painting and in sculpture, and explains how he discovered the creative potential of chance, whether it is the fruit of a conscious process or not. Strindberg can really be called an avant-gardist artist, for example when he praises an abstract and informal art, improvising "a theory of the automatic art" with the manipulation "by chance" of his tools and his musical instruments, fifty years before an artist like John Cage. This article will focus on the theoretical and plastic ways of the creative chance in this short text, which is as interesting as prophetic. Marcel Duchamp anses vanligen vara den forsta konstnar som arbetade med slumpen i sina verk, och detta galler i synnerhet hans masterverk "Trois Stoppages Etalon" fran 1913. Men faktum ar att August Strindberg redan 1894, alltsa ungefar tjugo ar fore Marcel Duchamp, hade studerat och experimenterat med slumpen i sitt konstnarliga skapande, vilket han gav ut en lite bok om kallad Du Hasard dans la production artistique. I denna bok beskriver Strindberg drapliga slumpbaserade experiment inom musik, maleri och skulptur, och han forklarar hur han upptackte slumpens kreativa potential, vare sig denna var ett resultat av en medveten process eller ej. Strindberg kan forvisso kallas en avantgarde-artist, bland annat med tanke pa hans lovordande av abstrakt och informell konst, hans improviserande kring "en teori for den automatiska konsten" och hans "slumpmassiga" manipulerande med verktyg och musikinstrument, 50 ar fore en konstnar som John Cage. Denna artikel fokuserar pa de teoretiska och plastiska dimensionerna i det slumpmassiga skapandet som beskrivs i hans korta text, som aven ar intressant som profetia. Martin KYLHAMMAR Strindberg, inventeur - et critique - de la civilisation modern This essay examines Strindberg's attempt to become an inventor in and around the year 1895. Strindberg left behind about 100 inventive ideas. They are often linked to ongoing technical research and contemporary problems. But the critical reviewer can only conclude: every working idea in this field that Strindberg pr

• Format: Paperback
• Language: French
• ISBN: 225203887X
• ISBN13: 9782252038871
• Release Date: January 2014
• Publisher: Klincksieck
• Length: 236 Pages