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The author's dream on the stage : Harald Molander as a director and writer
No full textThe thesis is a structural biography of Harald Molander (1858-1900), stage manager, author, translator and critic.The investigation is based on his literary works and the reviews of these. Articles, letters and the director's comprehensive manuscripts and other documents are analyzed. The reactions of the audience are studied.Molander's authorship and directing were artistically coherent. In accordance with the theories of Felix Vodicka and Jan Mukarovsky a model of description is formulated for the study of the period norm. The structure of Molander's literary works, the reception of them, and the modern conception of stage management are related to the changes in the norm.As an. author Molander successively associated himself with tradition, with the realism of the modern breakthrough and the interest in historical subject. His works were often shaped by literary impressions. His works as an author and stage manager were frequently religiously tinged.As a director Molander was a transitional figure. He began as an author-director and gradually took up modern stage management. In this thesis his work as a director is studied as part of the division of labour in the theatre, as staging-procedure and as an expression of principles of style and artistic viewpoint. His directing was chiefly aimed at realizing the author's vision on the stage. He wanted to transform the possibilities of the drama into scenic reality.As a stage manager Molander was influenced by the Meininger Company and Wagner. As a director he was very systematic. He distanced himself from the kind of theatre which was dominated by the actors, from Romanticism and ideal realism, and he studied naturalism. Tradition, fidelity to authors, realism, historicism, ensemble-acting and the harmonization of the means of expression of the theatre characterized his stage managing. Molander also had a didactic view of the theatre; he wanted to discuss societal and psychological problems and he wanted to amuse his audience.Molanderwas active both in Sweden and in Finland. The highlight of his early period was the staging of Goethe's Faust (1889). He shaped it into a realistic-fantastic Gesamtkunstwerk. He made pictorially attractive stagings of Strindberg's historical dramas, Mäster Olof (1897), Gustaf Vasa and Erik XIV (1899). The staging of Hauptmann's The Weavers was his masterpiece. The instruction of the masses in this strike drama was consistent. The Swedish labour movement greeted the play with enthusiasm.digitalisering@um
Författarens dröm på scenen [Elektronisk resurs] : Harald Molanders regi och författarskap
No full textThe thesis is a structural biography of Harald Molander (1858-1900), stage manager, author, translator and critic.The investigation is based on his literary works and the reviews of these. Articles, letters and the director's comprehensive manuscripts and other documents are analyzed. The reactions of the audience are studied.Molander's authorship and directing were artistically coherent. In accordance with the theories of Felix Vodicka and Jan Mukarovsky a model of description is formulated for the study of the period norm. The structure of Molander's literary works, the reception of them, and the modern conception of stage management are related to the changes in the norm.As an. author Molander successively associated himself with tradition, with the realism of the modern breakthrough and the interest in historical subject. His works were often shaped by literary impressions. His works as an author and stage manager were frequently religiously tinged.As a director Molander was a transitional figure. He began as an author-director and gradually took up modern stage management. In this thesis his work as a director is studied as part of the division of labour in the theatre, as staging-procedure and as an expression of principles of style and artistic viewpoint. His directing was chiefly aimed at realizing the author's vision on the stage. He wanted to transform the possibilities of the drama into scenic reality.As a stage manager Molander was influenced by the Meininger Company and Wagner. As a director he was very systematic. He distanced himself from the kind of theatre which was dominated by the actors, from Romanticism and ideal realism, and he studied naturalism. Tradition, fidelity to authors, realism, historicism, ensemble-acting and the harmonization of the means of expression of the theatre characterized his stage managing. Molander also had a didactic view of the theatre; he wanted to discuss societal and psychological problems and he wanted to amuse his audience.Molanderwas active both in Sweden and in Finland. The highlight of his early period was the staging of Goethe's Faust (1889). He shaped it into a realistic-fantastic Gesamtkunstwerk. He made pictorially attractive stagings of Strindberg's historical dramas, Mäster Olof (1897), Gustaf Vasa and Erik XIV (1899). The staging of Hauptmann's The Weavers was his masterpiece. The instruction of the masses in this strike drama was consistent. The Swedish labour movement greeted the play with enthusiasm.</p
Margareta Wirmark, red., Ingmar Bergman. Film och teater i växelverkan, Carlssons Bokförlag. Stockholm 1996
No full textStrindberg, Ibsen & Bergman. Essays on Scandinavian film and drama offered to Egil Törnqvist on the occasion of his 65th birthday. Red. Harry Perridon, Shaker Publishing. Maastricht 1998
No full textGunnar Syréhn, Mellan sanningen och lögnen. Studier i Per Olov Enquists dramatik : Almqvist & Wiksell International. Stockholm 2000
No full text
Birgitta Steene, red., <em>Strindbergiana</em>. Tolfte samlingen. Strindbergssällskapet, Atlantis. Stockholm 1997 [Elektronisk resurs]
No full textMargareta Wirmark, red., <em>Ingmar Bergman. Film och teater i växelverkan</em>, Carlssons Bokförlag. Stockholm 1996 [Elektronisk resurs]
No full textBirgitta Steene, red., Strindbergiana. Tolfte samlingen. Strindbergssällskapet, Atlantis. Stockholm 1997
No full textGoing Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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