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This fine collection of essays offers a wide range of new and original perspectives on Strindberg and his relation to modern and contemporary literature. By using Strindberg as a fulcrum or spring board, the volume opens a unique and unusual historical perspective on Europe and European literature. One of the important values of The International Strindberg is that it will appeal to a variety of readers, since the essays cover such a diverse range of approaches. The introduction is particularly impressive because it both sets up the value of looking at Strindberg from a twenty-first century perspective and suggests how that can and should be done. The volume demonstrates the variety of ways in which Strindberg’s work can be seen and discussed in light of twentieth and even twenty-first century literature.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright
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  1. Contents
  2. pp. v-vi
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  1. Acknowledgments
  2. p. vii
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  1. Introduction: The International Strindberg - Anna Westerståhl Stenport
  2. pp. 3-26
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  1. Stockholm—Berlin—Moscow: Strindberg and Avant-Garde Performance in the 1920s - Eszter Szalczer
  2. pp. 27-48
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  1. Castration Anxiety and Traumatic Encounters with the Real in the Works of August Strindberg and Lars von Trier - Mads Bunch
  2. pp. 49-70
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  1. Reconsidering the Place of Strindberg in Surrealism: André Breton and the Light of the Objective Chance Encounter - Maxime Abolgassemi
  2. pp. 71-88
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  1. Standing at the Bourne of the Modern: Strindberg’s Ecological Subject in By the Open Sea and His Archipelago Paintings - Linda Haverty Rugg
  2. pp. 89-106
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  1. Paris, Laboratory of Modernity: Modernist Experimentation and August Strindberg’s Search for “the Equation” in Paris - Sylvain Briens
  2. pp. 107-126
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  1. Voices and Visions in Fingal’s Cave: Plato and Strindberg
  2. pp. 127-144
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  1. Money Metaphors and Rhetoric of Resource Depletion: Creditors and Late-Nineteenth-Century European Economics
  2. pp. 145-166
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  1. A Nineteenth-Century Long Poem Meets Modernity: Sleepwalking Nights
  2. pp. 167-194
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  1. By the Open Sea—A Decadent Novel? Reconsidering Relationships Between Nietzsche, Strindberg, and Fin-de-Siècle Culture -
  2. pp. 195-214
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  1. “The Spoken Word Is All”—“Ordet det talade är allt”: Translating Strindberg for the International Stage
  2. pp. 215-248
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  1. The Art of Doubt: Form, Genre, History in Miss Julie
  2. pp. 249-276
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  1. Notes on Contributors
  2. pp. 277-279
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