1,721,066 research outputs found
Massimo Ciaravolo (a cura di), Storia delle letterature scandinave. Dalle origini a oggi
Full text linkMassimo Ciaravolo (a cura di), Storia delle letterature scandinave. Dalle origini a oggi
di Maria Chiara Brandolin
Introduzione
No full textProfilo di Magherita Giordano Lokrantz come docente e come studiosa, fondatrice della Scandinavistica presso l'Università degli Studi di Milano, disciplina che ha condotto dal 1973 al 2004. Descrizione dei suoi articoli, precedentemente pubblicati in volumi e riviste e qui raccolti nel volume commemorativo
Postfazione
No full textPresentazione e analisi del romanzo del 1912 di Söderberg, il suo ultimo. Il romanzo è letto come culmine e momento conclusivo della passione letteraria dell'autore, attivo dalla fine degli anni Ottanta del XIX secolo, e anche come rivelazione della disaffezione e dello scetticismo nei confronti dei 'poeti', dunque come un annuncio della prevalente passione politica che caratterizzerà l'azione intellettuale di Söderberg fino alla sua morte
Postfazione
No full textPresentazione e analisi delle strutture e dei temi di questo romanzo-reportage sui mondiali di calcio "Italia '90" dal punto di vista periferico di un flaneur svedese
Postfazione
No full textPresentazione dell'autore Ulf Peter Hallberg e della sua opera, in occasione della pubblicazione del suo primo libro in Italia. Presentazione e analisi delle forme e dei temi di questo romanzo-reportage, sull'Europa occidentale, gli Stati Uniti e le loro città nel nuovo scenario dopo il 1989 e la Caduta del Muro. Che cosa significa fare gli scrittori e intellettuali in tale contesto
"Postfazione e note"
No full textPostfazione che illustra la genesi del romanzo nella produzione dell'autore; la sua ricezione critica; i temi e le forme del testo; la storia della sua traduzione e le scelte traduttive della presente edizione. Un conclusivo apparato di note puntuali chiarisce contesti storico-culturali evocati dal romanzo
Introduzione
No full textL'introduzione descrive gli obiettivi dell'VIII Convegno Italiano di Studi Scandinavi e del presente volume che ne raccoglie i contributi; inquadra l'argomento del convegno scientifico (L'uso della storia nelle letterature nordiche; le lingue nordiche tra storia e attualità); e le declinazioni nei singoli contributi
Strindberg across Borders, edited by Massimo Ciaravolo
Full text linkA world-famous playwright, but also a writer of genius in all literary genres, and, in addition, a man with an interest in painting, photography, languages, history, politics, natural sciences, religion and occultism, August Strindberg (1849-1912) sometimes reminds us of the universal Renaissance genius, though endowed with the anxious spirit of an artist in the age of modernity and advanced capitalism. Strindberg practised border crossing as a transgression against norms and a questioning of authorities; his position as a layman was perhaps uncomfortable but also a guarantee for the freedom and mobility he needed for artistic creativity and experimentation. Strindberg’s border crossing was, furthermore, a clearly developed transnational and multilingual agenda. Finally, his border crossing dealt with the historical condition of moving back and forth over the threshold between good old times and modernity. He was conscious of the contradictions involved, and torn between a constant avant-garde attitude, eager to connect with the most advanced artistic trends in Europe and conquer new grounds, and a nostalgic look backward, which explains, for example, his perception of a loss of natural space as well as his nostalgia for a lost patriarchal order. Thanks to this unruly fire and inexhaustible linguistic vitality, Strindberg became a seminal forerunner of modernism and twentieth-century art. Today his innovative work is more alive and challenging than ever. This volume gathers twenty-one contributions, written either in English or Swedish, by scholars from Sweden, Italy, Lithuania, France, Switzerland, Bulgaria, Russia, and the United States. The collected essays testify to the manifold aspects of border crossing in August Strindberg’s work, and the wide range of approaches to this aspect: world literature and the construction of Strindberg’s authorship (Vera Gancheva, Ann-Charlotte Gavel Adams); translation studies (Elisabeth Tegelberg, Alexander Künzli and Gunnel Engwall); interaction with discourses focused on gender, politics and science (Tobias Dahlkvist, Massimo Ciaravolo, Cecilia Carlander); Strindberg’s anti-materialistic and anti-positivistic binary oppositions between outward and inward, lower and upper reality (Annie Bourguignon, Deimantė Dementavičiūtė-Stankuvienė, Polina Lisovskaya, Astrid Regnell); forms of intertextuality in Strindberg’s work, or deriving from it (Maria Cristina Lombardi, Andreas Wahlberg, Roland Lysell, Martin Hellström); theatre studies and stage productions (Franco Perrelli, Gytis Padegimas, Elvyra Markevičiūtė, Richard Bark); visual interpretations of Strindberg’s work such as sketches for a stage production and comics (Astrid von Rosen, David Gedin)
Between Literature and Politics. Strindberg and Scandinavian Radicalism as Seen through his Relationship with Edvard Brandes, Branting and Bjørnson
Full text linkStrindberg’s strategies of commitment, disengagement and new commitment across the border between literature and politics represent an intriguing intellectual adventure we can follow throughout his life as a writer. My article focuses on Strindberg’s dilemma as it took form in the first half of the 1880s, and observes it through his fundamental and controversial relationship with the Swedish journalist, literary critic and Social-democratic political leader Hjalmar Branting, with the Danish playwright, literary critic, journalist and radical liberal politician Edvard Brandes, and with the Norwegian writer, politically engaged intellectual and nasjonalskald Bjørnstjerne Bjørnson. For a period they all experienced, along with Strindberg, the ambivalence of working in a social field where art and politics were intertwined, and were to a certain extent involved in the same project, each with his own interpretation. For Strindberg the writer, defending his autonomy from the political field in the end became crucial. What did his colleagues expect from his work? How did Strindberg react to their expectations? What is his legacy today with respect to stances such as intellectual autonomy from power, democratic rule, pacifism and critique of civilization, but also anti-feminism and anti-Semitism? Strindberg’s unruly genius illustrates that it is at times difficult to draw the dividing line between radicalism and reaction, and that the great modernists were often also great anti-modernists
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