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 produced was already done by somebody else; everyone of Strindberg's independent and original ideas, rested on absurd premises. Strindberg stravade standigt efter att vara modern, att vara i framkant, i ledningen for omvandlingar och nyorienteringar. Detta till trots kom han aldrig att stalla sig bakom sin tids tekniska och vetenskapliga framstegstro. Han var forfattarskapet igenom trogen sin djupa, "grona", civilisationskritik. Just detta gor det extra intressant att han aren runt 1895 forsokte sla igenom som uppfinnare. I den har uppsatsen granskas hans tekniska ambitioner och de cirka hundra uppfinningsideer han lamnade efter sig. Det handlar om forslag till nya konsumtionsartiklar, till nya processinnovationer och nya metoder for ravaruutvinning. Strindberg tog inte sina tekniska ideer ur luften, de anknot till teknisk forskning och samtida problem. Men den kritiske granskaren kan bara konstatera: allt Strindberg tankt ratt pa detta falt, var redan gjort av andra - allt Strindberg tankt nytt, vilade pa orimliga premisser. Sylvain BRIENS Ecrivain-ecologue. La naissance de l'ecologie scientifique dans Jardin des Plantes d'August Strindberg August Strindberg wrote Jardin des Plantes in 1896 as an attempt to gain recognition as a botanist and chemist. This paper evaluates the scientific relevance of the text, taking into account the status of science at the end of the nineteenth century. A comparison with cology of Plants: An Introduction to the Study of Plant Communities, written one year previously by Eugenius Warming (a Danish botanist and major founding figure of the scientific discipline of ecology) shows that Jardin des Plantes is a fairly accurate summary of the state of botany in the late nineteenth century. Strindberg expresses a vision of ecology which is comparable in many aspects to that of Warming, but unlike Warming he is unable to found a new epistemology. August Strindberg skrev Jardin des Plantes 1896 i avsikt att bli erkand som botanist och kemist. Denna uppsats bedomer det vetenskapliga vardet av hans text med hansyn till naturvetenskapens status pa slutet av 1800-talet. En jamforelse gors med Eugenius Warmings verk Plantesamfund - GrundtrAek af den ologiske Plantegeografi, forfattat ett ar tidigare. Warming var dansk botaniker och forgrundsgestalt inom ekologisk vetenskap. Jamforelsen visar att Jardin des Plantes ger en tamligen korrekt beskrivning av laget inom den botaniska vetenskapen mot slutet av 1800-talet. Strindberg framfor en syn pa ekologi som i manga avseenden liknar Warmings utan att, i motsats till den senare, lyckas introducera en ny epistemologi. Gustaf MARCUS Une tentative de realiser la litterature de l'avenir: l'heredite comme moteur du recit dans Le Fils de la servante d'August Strindberg The object of this article is to read August Strindberg's autobiography The Son of a Servant in the light of the science of heredity of the late 19th century. The point of departure is an analysis of the paradoxical narrative structure of the work, where the present of the protagonist is disrupted by the narration of the past and the future. This undermines the protagonist in a way that resembles the relativisation of the subject in the scientific literature on heredity. The article also shows how Strindberg uses this scientific knowledge to formulate a critique of society and literature. Artikelns syfte ar att lasa Strindbergs sjalvbiografi Tjanstekvinnans son i ljuset av vetenskapen om arftligheten vid slutet av 1800-talet. Utgangspunkten ar en analys av den paradoxala narrativa strukturen i verket, dar huvudpersonens nutid genomgaende upploses av berattandet om det forgangna och framtiden. Detta underminerar huvudpersonen som ett helt subjekt pa ett satt som liknar relativiseringen av subjektet i den vetenskapliga litteraturen om arftligheten. Artikeln visar aven hur Strindberg anvander det har vetandet for att formulera en kritik av samhallet och litteraturen. Ylva LINDBERG Strindberg face aux femmes This study offers a presentation and a critical reading of research on Strindberg dealing with the question of the female. The overview spans research from the 1960s until today and is divided into three areas: the biographical perspective, the historical perspective and the aesthetic and literary perspective. The conclusions are partly that the aesthetic and literary perspective is more strongly emphasized in later research, and that underlying methodological assumptions are more explicit and elaborated. Finally, the focus on the female is abandoned in favour of discussions of gender and relationships. Studien ar en oversiktlig och kritisk presentation av Strindbergforskningen som fokuserar pa kvinnofragan. Studien beror forskning fran 1960-talet och framat och ar indelad i tre omraden?: det biografiska, det historiska och det estetiskt litterara. En av slutsatserna ar att det estetiskt litterara perspektivet tar overhanden i senare forskning och att metodologiska stallningstaganden blir mer uttalade. Fokuseringen pa kvinnofragan gar aven over i att diskutera genus och parforhallanden. Sven HEED Strindberg et le reve d'un theatre artistique This article proposes a different approach to Strindberg's theatrical work from the perspective of the theatre itself and the innovations in the theatre of his time. The search for an artistic theatre is a constant in Strindberg's life. The article traces the evolution of this constant through different projects and realizations of an experimental theatre and places Strindberg's contribution to the theatre in relation to contemporary attempts to find new forms of expression in the theatre. Together with other theatre men of his time, Strindberg remains a forerunner and an important figure within the artistic theatre of the 20th century. Artikeln erbjuder ett nytt satt att narma sig Strindbergs dramatik fran ett teatralt perspektiv med hansyn till teaterns fornyelse i hans samtid. Sokandet efter en konstnarlig teater framstar som en konstant i Strindbergs liv. Artikeln foljer utvecklingen av denna konstant genom olika teaterprojekt och forverkliganden av en experimentteater och definierar Strindbergs bidrag till teatern i forhallande till samtida forsok att finna nya uttrycksformer i teatern. Strindberg ar och forblir en foregangare, i niva med andra framstaende teaterman i hans samtid, och en forgrundsgestalt inom 1900-talets konstnarliga teater. Marthe SEGRESTIN La Danse de mort en France - les metamorphoses du tragique The history of the productions of The Dance of Death in France shows not only that the play fascinated the biggest directors, from Lugne-Poe to Jacques Lassalle, via Jean Vilar and Claude Regy, but also that very different approaches have been proposed during the twentieth century, to express the tragic of the play. The analysis of the scenic space allows us to emphasize this evolution: in 1921, with the first production of Lugne-Poe, the space is confined, the small size of the stage serves to create an atmosphere of huis clos . The Dance of Death becomes in France the drama of the conjugal hatred: the hell of the couple is stressed by closing space on very small stages. However, we notice another interpretation of the play already in the 1920s, but mainly after 1970: the choice of bigger stages and of an open scenic space changes completely the meaning of the play: the huis clos becomes less important, whereas the face to face with death comes in the forefront. In the Palais de Chaillot, Claude Regy turns in 1970 the drama of the conjugal hatred into a tragedy of the death. Den historiska raden av uppsattningar av Dodsdansen i Frankrike visar inte bara att dramat fascinerade de storsta regissorerna, fran Lugne-Poe till Jacques Lassalle, via Jean Vilar och Claude Regy, men ocksa bredden av de tolkningar som foreslagits f for att uttrycka det tragiska i dramat. En analys av scenrummet gor det mojligt att visa hur dessa tolkningar har lyft fram olika aspekter av pjasens tragik. I den forsta uppsattningen av Lugne-Poe (1921) ar utrymmet pa scenen begransat och bidrar till att skapa en atmosfar av huis clos det vill saga ett drama bakom lyckta dorrar. Genom att utrymmet pa scenen forminskas betonas helvetet inom hemmets vaggar, nagot som gjorde att Dodsdansen efter denna uppsattning i Frankrike kom att betraktas som en arketyp for det aktenskapliga dramat. Redan under 1920-talet paborjas dock en utveckling som marks allt tydligare framforallt efter 1970, da pjasen tolkas helt annorlunda. Flera regissorer valjer att anvanda stora scener och darmed att oppna utrymmet, sa att kammarspelet blir mindre framtradande medan motet med doden kommer i forgrunden. Detta ar fallet med Claude Regys uppsattning pa Palais de Chaillot 1970, som forvandlar aktenskapsdramat till en tragedi med doden som central tematik. Antoine GUEMY Un heritage encombrant et poussiereux? Les mises en scene en France des pieces historiques de Strindberg One need not worry about the Strindberg legacy: it is still very vivid - not the least on stage everywhere in the world, particulary in France. But one part of his theatrical work has been largely neglected in the country of Corneille since the very beginning: his historical dramas. How do you explain such a lack of interest? However, if the plays where known by a few specialists of scandinavian litterature, the french public had to wait until 1958 in order to be able to read the first translations in french (by C. G. Bjustrom and Boris Vian) of one of the historical dramas, Erik XIV, a bit later (1960) Charles XII, Christine and Gustav III, and as late as 1986 to get the whole range of them (13 plays). This allowed a short blooming of productions in the sixties. Most famous was the performance of Erik XIV directed by Jean Vilar on the huge parisian Theatre National Populaire (TNP) in 1960, where an enormous number of spectators could discover this part of Strindbergs work. All these attempts seemed to express and reflect the movement called theatre populaire with it's leitmotif decentralisation which had been initialized by Andre Malraux' Ministery of culture in the early sixties, and was especially open to innovative and foreign repertoire. After a long silence, a very brave attempt was done in the season 2009-10 by a tiny theater in Paris, the Theatre du Nord-ouest to play Strindbergs complete theatrical work, and among this his historical dramas. With its very tight economy, they could only afford to produce two of the historical plays on stage, (Erik XIV and The Nightingale of Wittenberg) but managed to make lectures of all the others. Man behover inte kanna sig det minsta orolig for Strindbergs arv- det lever och frodas inte minst pa teaterscenerna varlden over och alldeles sarskilt i Frankrike. Men en del av hans dramatiska verk har aldrig hittat fram till fransmannens hjarta: hans historiska dramer. Hur kan man forklara detta ? I Frankrike var det lange emellertid endast nagra fa specialister pa skandinavisk litteratur som kande till dem, eftersom den forsta oversattningen (Erik XIV) publicerades forst 1958 (av C.G. Bjurstrom och Boris Vian) foljd av Karl XII, Kristina samt Gustav III ar 1960 och forst sa sent som 1986 fick den franska publiken tillgang till hela verket av 13 pjaser. Som en foljd af detta uppstod pa sextiotalet en kort blomstringstid, da t.ex. Erik XIV sattes upp av Jean Vilar pa TNP's (Theatre National Populaire) stora scenen i Paris (1960) och lockade manga besokare. Alla dessa forsok verkar ha varit en del av den generosa rorelsen som gick under benamningen "theatre populaire", med "decentralisering" som ett centralt begrepp under ledning av Andre Malraux som kulturminister i borjan pa 60talet och som var sardeles oppen for en okand, utlandsk repertoire. Sedan drojde det enda till 2009 da en liten teater i Paris, le Theatre du Nord-ouest gjorde en djarv satsning och programmerade hela Strindbergs verk for teatern, varav aven hans historiska dramer. Endast tva av dem (Erik XIV and Naktergalen i Wittenberg) kunde emellertid sattas upp pa riktigt: de ovriga i form av upplasningar. Karl GADELII La traduction en francais des traits oraux dans I havsbandet par August Strindberg Strindberg's language is among other things characterized by an important variation in sentence-initial position. This variation is made possible by the facility in Swedish of allowing practically any type of constituent to introduce the sentence, as long as the finite verb is in second position. This property may be formalized as XVS, and does not exist as such in French. This means that other strategies have to be used when translating the left periphery in Strindberg's language into French, such as detachment to the left (XSV). The paper evaluates to which extent these strategies are successful. Strindbergs stil karakteriseras bland annat av stor variation i satsborjan, nagot som underlattas av svenskans rika mojligheter att lata nastan vilken typ av konstituent som helst forega det bojda verbet, som alltid star pa andra plats i huvudsatser. Denna egenskap i svenskans syntax kan formaliseras som XVS, och forekommer inte pa samma satt i franskan. Detta gor att oversattare maste ta till andra strategier vid oversattning av vansterperiferin i Strindbergs sprak, bland annat vansterpetning (XSV). Artikeln utvarderar hur val de olika oversattningsstrategierna aterger Strindbergs stil. Annie BOURGUIGNON Le roman de journaliste Strindberg's novel The Red Room (1879) is one of the first journalist's novels, a genre which distinctive features are that 1) the main character is a journalist and reality is shown through her/his activities; 2) it describes how the media work; 3) it questions the ability of a text to produce a true representation of reality. The paper also introduces some journalist's novels of the 20th century, such as Ivar Lo-Johansson's Journalisten (1956, The Journalist ), Jorn Donner's Jag, Erik Anders (1955, I, Erik Anders ) and Erik Eriksson's Efter regntiden (1985, After the Rainy Season ). Journalistromanen kan anses vara en undergenre som tar sin borjan med Roda rummet och karakteriseras av att 1) huvudgestalten ar journalist och verkligheten framstalls genom berattelsen om journalistens verksamhet; 2) romanen beskriver journalisternas arbetsmiljo; 3) journalisten funderar kring fragan om en text kan aterge verkligheten troget. Artikeln sysslar sedan med nagra journalistromaner fran 1900-talet, bland andra Ivar Lo-Johanssons Journalisten (1956), Jorn Donners Jag, Erik Anders (1955) och Erik Erikssons Efter regntiden (1985). Maxime ABOLGASSEMI L'objet trouve et l'heritage surrealiste de Strindberg The possibility that Strindberg could be a precursor of surrealism is often suggested, but it is not easy to show precisely how this is relevant. Probably because of a legacy quiet unfamiliar and therefore weakly assumed by the Surrealists themselves. We will take the case of the found objects (objets trouves) to see that the Parisian story Inferno reveals how Strindberg attempted experiments typically surrealist. And prove that he was already invoking a new chance able to attack the poor and bounded reason, something very close to the objective chance (hasard objectif) lately described by Breton. Mojligheten att Strindberg kunde vara surrealismens foregangare namns ibland men det ar inte helt enkelt att visa exakt hur, vilket delvis beror pa att surrealisterna sjalva inte kande till det strindbergianska arvet sa bra. Genom begreppet funna foremal ( objets trouves ) ser vi att Strindberg i Parisberattelsen Inferno gor vad som liknar typiskt surrealistiska experiment. Vi vill pavisa att Strindberg anvande slumpmassiga fynd och foremal som ett satt att spranga ramarna och bryta med fornuftets torra logik, vilket paminner om vad Breton senare kallade den objektiva slumpen (le hasard objectif).
About the Author: Professeur a la Sorbonne, titulaire de la chaire d'histoire culturelle du monde germanique de l'Institut universitaire de France.