title: August Strindberg

texts:
<mask> (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, <mask> wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, <mask> developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, <mask> is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough.In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established  (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage.His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography

Youth

Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan.He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson.According to his sisters, <mask> came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. <mask> spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, <mask> also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling.1870s
<mask> returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – <mask> called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him.Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions.Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. <mask> embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant.Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. <mask> described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, <mask>'s relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, <mask> and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later.On 9 January 1879, <mask> was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where <mask> was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, <mask> explained that:

1880s

<mask> and Siri's daughter Karin was born on 26 February 1880.Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of <mask>'s previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö.That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of <mask> to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, <mask>'s five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying.He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 <mask> wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit.No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola.During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist.He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography.The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when <mask> was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s <mask> discovered Naturalism.After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, <mask> himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes.Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing

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title: August Strindberg

type: original

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 Creditors, <mask> completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of <mask>, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis.Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893).<mask> also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, <mask> did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works.<mask>'s Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses <mask>'s drinking habits, including his liking for absinthe and its possible implications for <mask>'s mental health during the inferno period. 1890s

After his disenchantment with naturalism, <mask> had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled <mask>'s creativity, and <mask> insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893).His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors.Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity.Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, <mask> had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to <mask>'s later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality.<mask> believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907).1900s

Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, <mask> planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909).His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. <mask>, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. <mask>, played Jean and Manda Bjorling played Julie. In 1909, <mask> thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church.In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, <mask> noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him.In 1907 <mask> co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director <mask>. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, <mask> also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, <mask> wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to <mask>: 1. No liquor.2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5.Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8.Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work.Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, <mask> was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. <mask> used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. <mask> was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until <mask>'s death in 1912.The newspapers wrote about the theatre until its death. Death and funeral

<mask> died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, <mask> became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition.He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. <mask> was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. <mask> had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to <mask>'s last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am.A short service was conducted by Nathan Söderblom by the bier in <mask>'s home, in the presence of three of <mask>'s children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy
Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited <mask> as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing <mask>'s influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of <mask>: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, <mask> was often extreme.His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. <mask>'s best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. <mask> wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting.<mask> felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that <mask> strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. <mask> subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The

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Strindberg
Strindberg
Strindberg


title: August Strindberg

texts:
 Ghost Sonata are well-known plays from this period.His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, <mask> is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for <mask>. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to <mask> in memoriam. Politics

An acerbic polemicist who was often vehemently opposed to conventional authority, <mask> was difficult to pigeon-hole as a political figure.Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. <mask>'s opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. <mask> was a prolific letter-writer, whose private communications have been collected in several annotated volumes.He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young <mask> had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, <mask>'s socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers.""Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, <mask> espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young <mask> "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, <mask> later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements.His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. <mask> famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. <mask>'s misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was <mask>'s anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when <mask> dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier).Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of <mask>." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, <mask> would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution:

 What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e.the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.)Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, <mask> remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as <mask>'s descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on <mask>'s shifting political and cultural posture, on the occasion of the author's sixtieth birthday:

 To the young <mask>, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.)Toward the end of his life, however, <mask> would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, <mask> launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until <mask>'s death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, <mask>'s funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. <mask>'s daughter <mask> married a Russian Bolshevik of partially Swedish ancestry,  ("Paulsson").Painting

<mask>, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. <mask>'s paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though <mask> was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait.Photography
<mask>'s interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. <mask> also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted;

His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 <mask> met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies
Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by <mask> with some intensity for periods of his life.In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – <mask>, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that <mask> staged and imagined elements of the crisis as material for his literary production. Personal life

Strindberg was married three times, as follows:
 Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans);
 Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and
 Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). <mask> was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married.Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than <mask>. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians.His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography

 La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p.
The Growth of a Soul (1914)
The German Lieutenant, and Other Stories  (1915)
There Are Crimes and Crimes

Further reading
 Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth)  (bpk)
 Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965
Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8

 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, <mask> and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56,

Sources

 Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography.Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. .
 Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. .
 Ekman, Hans-Göran.2000. <mask> and the Five Senses: Studies in <mask>'s Chamber Plays. London and New Brunswick, New Jersey: Athlone. .

 Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. .
 Innes, Christopher, ed. 2000.A Sourcebook on Naturalist Theatre. London and New York: Routledge. .
 Lagercrantz, Olof. 1984. <mask>. Trans. Anselm Hollo. New York: Farrar Straus Giroux. .
 Lane, Harry.1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. .
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 Ward, John.1980. The Social and Religious Plays of Strindberg. London: Athlone. .
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References

External links

English-language translations in the public domain

Public domain translations of <mask>'s drama
 The Father, Countess Julie, The Outlaw, The Stronger
 Comrades, Facing Death, Pariah, Easter
 Swanwhite, Advent, The Storm
 There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah
 To Damascus Part 1
 Road To Damascus Parts 1, 2, and 3

Public domain translations of <mask>'s novels
 The Red Room. The Confession of a Fool. Other

 Photographs by <mask> from the National Library of Sweden on Flickr
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 <mask>berg and absinthe; in his life and in his works
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 A Dream Play (manuscript) at World Digital Library
 Burkhart Brückner: Biography of <mask> <mask> in: Biographical Archive of Psychiatry

masks:
Strindberg
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August Strindberg
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Karin Strindberg
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title: Henri Wittmann

texts:
<mask> (born 1937) is a Canadian linguist from Quebec. He is best known for his work on Quebec French. Biography
<mask>Hirsch) <mask> was born in Alsace in 1937. After studying with André Martinet at the Sorbonne, he moved to North America and taught successively at the University of Colorado at Boulder, the University of Alberta in Edmonton, the University of Windsor and McGill University in Montreal before teaching in the French university system of Quebec, the Université du Québec à Trois-Rivières and at Rimouski as well as the Université de Sherbrooke. He retired from teaching in 1997, after an extensive tour of teaching and conferencing in France. In the following years, he became the first Director of the Presses universitaires de Trois-Rivières and emeritus researcher at the Centre d’Analyse des Littératures Francophones des Amériques (CALIFA) at Carleton University in Ottawa. As a comparatist, Wittmann contributed to the study of the morphology of a number of languages and language families: Pre-Indo-European, Indo-European (Hittite, Italic, Romance, Germanic, Creole), Afro-Asiatic (Egyptian),  African (Mande, Kwa, Bantu), Austronesian (Malagasy, Polynesian), Amerindian (Arawakan, Cariban).His work between 1963 and 2002 includes more than 140 items. He is a life member since 1962 of the Linguistic Society of America (LSA). In 1965, he cofounded with André Rigault and Douglas Ellis the Linguistics Department at McGill University. In 1981, he was the cofounder, with Normand Beauchemin and Robert Fournier, of the Linguistic Society of Quebec (Association québécoise de linguistique) which he served for 10 years as president, secretary general and organizer of the annual meeting. In 1981 as well, he became the first Editor of the Revue québécoise de linguistique théorique et appliquée, a responsibility he assumed for the following 20 years. Politically, Wittmann is known for his anarcho-syndicalist sympathies with strong links to the CNTU (Confederation of National Trade Unions), communautary and anti-war movements. In 1974-1978, he was at the center of a union conflict at the University of Quebec which changed the landscape of collective bargaining in the academic world.A specialist of the linguistic heritage of Quebec, he also is a stout defender of Quebec independence. Contributions to linguistics
<mask> is the first modern linguist to study non-standard forms of Quebec French (notably Joual, Magoua and Chaouin) in a theory-orientated and comparative framework. In a general way, <mask>, a student of André Martinet in the fifties, has been the first to apply the latter's principles of chain reactions in phonology to inflectional morphology. In <mask>'s view, the basic structure of the sentence is held together by functional items, with the lexical items filling in the blanks. Position in functional space must maintain functional equidistance and disturbances in functional equidistance set off error correcting chain reactions that are cyclical in nature and subject to drift. Thus, functionally salient lexical items will eventually set off a push chain conveyor belt pressure in functional space, sending functionally close-by affixes down the path of attrition. Such is the origin of agglutinating clitics of non-standard oral French from erstwhile lexical pronouns, setting off the attrition of functionally equivalent fusional means of inflection inherited from Old French and Latin: loss of suffixal inflection on the verb, compensated by the rise of proclitic means indicating person, number and tense.Conversely, functional items going down the path of attrition leave behind functional gaps, triggering a drag chain effect on surrounding functionally salient lexical items. Such is the origin of the agglutinating prenominal class markers from erstwhile articles, which are compensated by the rise of postnominal means of expressing definiteness on the noun. With the fulfilment of each cycle of change, a morphologically consistent phonological representation is realized and serves as input to the next cycle of morphological change. Those processes of inflectional renewal have parallels in recent neurolinguistic research, notably in the works by Gabriele Miceli. Wittmann's comparative approach to studying colonial varieties of French from Quebec, the Americas, and the Indian Ocean reveals that the structural gap with written French is inherent in the variety of oral French reflecting the speech of Paris exported from the cities of northern France from the early 17th century onwards. The doubling of DP positions as agreement features and varying degrees of restrictions on verb movement are the only noteworthy developmental features that separate non-creole varieties from creole varieties of French. With his student Robert Fournier, Wittmann debunked within the same theoretical framework the extravagant African-origin hypotheses of Haitian Creole French by Claire Lefebvre and similar farfetched theories.In the end, neither the non-creole koine nor the creole varieties of colonial French turn out to be "creoles" in the sense that creolists would have it. They are both outcomes of "normal" processes of linguistic change and grammaticalization. Wittmann also contributed significantly to the study of other languages, notably languages that are claimed to be substratal to different varieties of Creole French (Ewe, Yoruba, Mande, Bantu, Malagasy, Arawakan, Cariban). References

Selected bibliography

 1973. "Le joual, c'est-tu un créole?" La Linguistique 9:2.83-93. 1973."The lexicostatistical classification of the French-based Creole languages." Lexicostatistics in genetic linguistics: Proceedings of the Yale conference, April 3–4, 1971, dir. Isidore Dyen, 89-99. La Haye: Mouton. 1974. "Le projet du français parlé à Trois-Rivières [II]." Annales de l'Association canadienne-française pour l'avancement des sciences 41:3.165-74.(With Jean-Pierre Tusseau). 1976. "Contraintes linguistiques et sociales dans la troncation du /l/ à Trois-Rivières." Cahiers de linguistique  6.13-22. Montréal: Presses de l'Université du Québec.,
 1981. "Bom Sadek i bez li: la particule i en français." Revue québécoise de linguistique théorique et appliquée 1.177-96.1982. "L'agglutination nominale en français colonial." Revue québécoise de linguistique théorique et appliquée 2:2.185-209. 1983, "Les réactions en chaîne en morphologie diachronique." Actes du 10e Colloque de la Société internationale de linguistique fonctionnelle, Université Laval, 9-11 mai." Québec: Presses de l'université Laval, pp. 285-292.1983. "Le créole, c'est du français, coudon." Revue québécoise de linguistique théorique et appliquée 3:2.187-202. 1987. "Relexification phylogénétique et structure de C" en créole haïtien et en fon." Revue québécoise de linguistique théorique et appliquée 6:2.127-35. 1987."Interprétation diachronique de la morphologie verbale du créole réunionnais." Revue québécoise de linguistique théorique et appliquée 6:2.137-50. 1990. "Morphologie et syntaxe des syntagmes [±wh] en créole haïtien et en fon." Proceedings of the Fourteenth International Congress of Linguists : Berlin/GDR, August 10-August 15, 1987. Berlin: Akademie Verlag, vol. 1, pp.644-647. 1994. "Relexification et créologenèse." Actes du Congrès international des linguistes 15:4.335-38. Québec: Presses de l'Université Laval. 1994. "Le créole haïtien, langue kwa relexifiée: vérification d'une hypothèse 'P&P' ou élaboration d'astuces computationnelles?"Créolistique et grammaire générative, edited by Louis-Jean Calvet, 115-39. Paris: Sorbonne, Laboratoire de sociolinguistique (Plurilinguismes 8). 1995. "Grammaire comparée des variétés coloniales du français populaire de Paris du 17e siècle et origines du français québécois." "Le français des Amériques", edited by Robert Fournier & <mask>, 281-334. Trois-Rivières: Presses universitaires de Trois-Rivières. 1995."La structure de base de la syntaxe narrative dans les contes et légendes du créole haïtien." Poétiques et imaginaires: francopolyphonie littéraire des Amériques, edited by Pierre Laurette & Hans-George Ruprecht, 207-18. Paris: L'Harmattan. 1996. "La forme phonologique comparée du parler magoua de la région de Trois-Rivières." Revue québécoise de linguistique théorique et appliquée 13.225-43. 1996."L'Ouest français dans le français des Amériques: le jeu des isoglosses morphologiques et la genèse du dialecte acadien." L'Ouest français et la francophonie nord-américaine: actes du Colloque international de la francophonie tenu à Angers du 26 au 29 mai 1994, edited by Georges Cesbron, 127-36. Angers: Presses de l'Université d'Angers. 1996. "Contraintes sur la relexification: les limites imposées dans un cadre théorique minimaliste." Revue québécoise de linguistique théorique et appliquée 13.245-80. 1998."Le français de Paris dans le français des Amériques." Proceedings of the International Congress of Linguists 16.0416 (Paris, 20-25 juillet 1997). Oxford: Pergamon. 1998. "Les créolismes syntaxiques du français magoua parlé aux Trois-Rivières." Français d'Amérique: variation, créolisation, normalisation'' (Actes du colloque, Université d'Avignon, 8-11 oct.), edited by Patrice Brasseur, 229-48. Avignon: Université d'Avignon, Centre d'études canadiennes.1999. "Prototype as a typological yardstick to creoleness." The Creolist Archives Papers On-line, Stockholms Universitet. 1999. "Non-existential analogues of the verb to be in West African Languages, in Haitian Creole and in Magoua French." Paper, 9th International Conference on Creoles Studies. 2001."Lexical diffusion and the glottogenetics of creole French." CreoList debate, parts I-VI, appendixes 1-9. The Linguist List, Eastern Michigan University & Wayne State University. (https://web.archive.org/web/20140511211442/http://listserv.linguistlist.org/archives/creolist.html). External links
 Site honoring <mask> : with an extensive bibliography and free access to some of his most important writings. Archives <mask>mann : selected writings. Entry in Linguistlist

1937 births
Living people
French emigrants to Quebec
Francophone Quebec people
University of Paris alumni
Linguists from Canada
Writers from Quebec

masks:
Henri Wittmann
Henri (
Wittmann
Henri Wittmann
Wittmann
Wittmann
Henri Wittmann
Henri Wittmann
Henri Witt


title: Barbara Ehrenreich

texts:
<mask> (, ; born August 26, 1941) is an American author and political activist who has been called "a veteran muckraker" by The New Yorker. During the 1980s and early 1990s she was a prominent figure in the Democratic Socialists of America. She is a widely read and award-winning columnist and essayist, and author of 21 books. Ehrenreich is perhaps best known for her 2001 book Nickel and Dimed: On (Not) Getting By in America; a memoir of Ehrenreich's three-month experiment surviving on a series of minimum wage jobs. She is a recipient of a Lannan Literary Award. Early life

Ehrenreich was born <mask> to Isabelle Oxley and Ben Howes Alexander in Butte, Montana, which she describes as then being "a bustling, brawling, blue collar mining town." In an interview on C-SPAN, she characterized her parents as "strong union people" with two family rules: "never cross a picket line and never vote Republican."In a talk she gave in 1999, Ehrenreich called herself a "fourth-generation atheist." "As a little girl", she told The New York Times in 1993, "I would go to school and have to decide if my parents were the evil people they were talking about, part of the Red Menace we read about in the Weekly Reader, just because my mother was a liberal Democrat who would always talk about racial injustice." Her father was a copper miner who went to the Montana School of Mines (renamed Montana Technological University since 2018), and then to Carnegie Mellon University. He eventually became a senior executive at the Gillette Corporation. Her parents later divorced. After her father graduated from the Montana School of Mines, the family moved to Pittsburgh, New York, and Massachusetts, before settling down in Los Angeles. Ehrenreich originally studied physics at Reed College, later changing to chemistry and graduating in 1963.Her senior thesis was entitled Electrochemical oscillations of the silicon anode. In 1968, she started a Ph.D program for theoretical physics, but changed early on to cellular immunology and received her Ph.D at Rockefeller University. In 1970, Ehrenreich gave birth to her daughter Rosa in a public clinic in New York. "I was the only white patient at the clinic," she told The Globe and Mail newspaper in 1987. "They induced my labor because it was late in the evening and the doctor wanted to go home. I was enraged. The experience made me a feminist."Career

After completing her doctorate, Ehrenreich did not pursue a career in science. Instead, she worked first as an analyst with the Bureau of the Budget in New York City and with the Health Policy Advisory Center, and later as an assistant professor at the State University of New York at Old Westbury. In 1972, Ehrenreich began co-teaching a course on women and health with feminist journalist and academic Deirdre English. Through the rest of the seventies, Ehrenreich worked mostly in health-related research, advocacy and activism, including co-writing, with English, several feminist books and pamphlets on the history and politics of women's health. During this period she began speaking frequently at conferences staged by women's health centers and women's groups, by universities, and by the United States government. She also spoke regularly about socialist feminism and about feminism in general. Throughout her career, Ehrenreich has worked as a freelance writer, and she is arguably best known for her non-fiction reportage, book reviews and social commentary.Her reviews have appeared in The New York Times Book Review, The Washington Post, The Atlantic Monthly, Mother Jones, The Nation, The New Republic, the Los Angeles Times Book Review supplement, Vogue, Salon.com, TV Guide, Mirabella and American Film. Her essays, op-eds and feature articles have appeared in Harper's Magazine, The New York Times, The New York Times Magazine, Time, The Wall Street Journal, Life, Mother Jones, Ms., The Nation, The New Republic, the New Statesman, In These Times, The Progressive, Working Woman, and Z Magazine. Ehrenreich has served as founder, advisor or board member to a number of organizations including the U.S. National Women's Health Network, the National Abortion Rights Action League, the National Mental Health Consumers' Self-Help Clearinghouse, the Nationwide Women's Program of the American Friends Service Committee, the Brooklyn-based Association for Union Democracy, political activist Robert Boehm's Boehm Foundation, the anti-poverty group Women's Committee of 100, the National Writers Union, The Progressive magazine's Progressive Media Project, the Fairness and Accuracy In Reporting (FAIR) advisory committee on women in the media, the National Organization for the Reform of Marijuana Laws, and the Campaign for America's Future. Between 1979 and 1981, she served as an adjunct associate professor at New York University and as a visiting professor at the University of Missouri at Columbia and at Sangamon State University. She lectured at the University of California, Santa Barbara, was a writer-in-residence at the Ohio State University, Wayne Morse chair at the University of Oregon, and a teaching fellow at the graduate school of journalism at the University of California, Berkeley. She has been a fellow at the New York Institute for the Humanities, the John Simon Guggenheim Memorial Foundation, the Institute for Policy Studies, and the New York-based Society of American Historians. In 2000, Ehrenreich endorsed the Presidential campaign of Ralph Nader; in 2004, she urged voters to support John Kerry in the swing states.In February 2008, Ehrenreich expressed support for then-Senator Barack Obama in the 2008 U.S. presidential campaign. Filling in for a vacationing Thomas Friedman as a columnist with The New York Times in 2004, Ehrenreich wrote about how, in the fight for women's reproductive rights, "it's the women who shrink from acknowledging their own abortions who really irk me," and said that she herself "had two abortions during my all-too-fertile years." In her 1990 book of essays The Worst Years of Our Lives, she wrote that "the one regret I have about my own abortions is that they cost money that might otherwise have been spent on something more pleasurable, like taking the kids to movies and theme parks." In 2006, Ehrenreich founded United Professionals, an organization described as "a nonprofit,  non-partisan membership organization for white-collar workers, regardless of profession or employment status. We reach out to all unemployed, underemployed, and anxiously employed workers—people who bought the American dream that education and credentials could lead to a secure middle class life, but now find their lives disrupted by forces beyond their control." In 2009, she wrote "Bright-sided: How Positive Thinking Is Undermining America", a book that investigates the rise of the positive thinking industry in the USA. She included her own experience after being told that she had breast cancer, as a starting point in this book.In this book, she brought to light various methods of what Nobel physicist Murray Gell-Mann calls 'quantum flapdoodle'. Ehrenreich is an honorary co-chair of the Democratic Socialists of America. She also serves on the NORML board of directors, the Institute for Policy Studies board of trustees and the editorial board of The Nation. She has served on the editorial boards of Social Policy, Ms., Mother Jones, Seven Days, Lear's, The New Press, and Culturefront, and as a contributing editor to Harper's. ", The New York Times, August 9, 2009
 "Are Women Getting Sadder? Or Are We All Just Getting a Lot More Gullible? ", Guernica, October 13, 2009
 "Smile!You've got cancer", The Guardian, January 2, 2010
Death of a Yuppie Dream - The Rise and Fall of the Professional-Managerial Class

Awards

In 1980, Ehrenreich shared the National Magazine Award for excellence in reporting with colleagues at Mother Jones magazine for the cover story The Corporate Crime of the Century, about "what happens after the U.S. government forces a dangerous drug, pesticide or other product off the domestic market, then the manufacturer sells that same product, frequently with the direct support of the State Department, throughout the rest of the world." In 1998 the American Humanist Association named her "Humanist of the Year." In 2000, she received the Sidney Hillman Award for journalism for the Harper's article "Nickel and Dimed," which was later published as a chapter in her book of the same title. In 2002, she won a National Magazine Award for her essay "Welcome to Cancerland: A mammogram leads to a cult of pink kitsch," which describes Ehrenreich's own experience of being diagnosed with breast cancer, and describes what she calls the "breast cancer cult," which "serves as an accomplice in global poisoning -- normalizing cancer, prettying it up, even presenting it, perversely, as a positive and enviable experience." In 2004, she received the Puffin/Nation Prize for Creative Citizenship,  awarded jointly by the Puffin Foundation of New Jersey and The Nation Institute to an American who challenges the status quo "through distinctive, courageous, imaginative, socially responsible work of significance." In 2007, she received the "Freedom from Want" Medal, awarded by the Roosevelt Institute in celebration of "those whose life's work embodies FDR's Four Freedoms." Ehrenreich has received a Ford Foundation award for humanistic perspectives on contemporary society (1982), a Guggenheim Fellowship (1987–88) and a grant for research and writing from the John D. and Catherine T. MacArthur Foundation (1995).She has received honorary degrees from Reed College, the State University of New York at Old Westbury, the College of Wooster in Ohio, John Jay College, UMass Lowell and La Trobe University in Melbourne, Australia. In November 2018, Ehrenreich received the prestigious Erasmus Prize by King Willem-Alexander of the Netherlands for her work in investigative journalism. Personal life and family

Ehrenreich has one brother, Ben Alexander Jr., and one sister, Diane Alexander. When she was 35, according to the book Always Too Soon: Voices of Support for Those Who Have Lost Both Parents, her mother died "from a likely suicide." Her father died years later from Alzheimer's disease. She has been married and divorced twice. She met her first husband, <mask>, during an anti-war activism campaign in New York City, and they married in 1966.He is a clinical psychologist, and they co-wrote several books about health policy and labor issues before divorcing in 1977. In 1983, she married Gary Stevenson, a union organizer for the Teamsters. She divorced Stevenson in 1993. Ehrenreich has two children by her first husband. Born in 1970, her daughter Rosa was named after a great-grandmother and Rosa Luxemburg. She is a Virginia-based law professor, national security and foreign policy expert and writer. Born in 1972, her son Ben is a novelist and a journalist in Los Angeles.She was diagnosed with breast cancer shortly after the release of her book Nickel and Dimed: On (Not) Getting By in America. This led to the award-winning article "Welcome to Cancerland," published in the November 2001 issue of Harper's Magazine. The piece inspired the 2011 documentary Pink Ribbons, Inc.. Ehrenreich lives in Alexandria, Virginia. References

External links

 <mask>'s blog

 Papers of <mask>ich, 1922-2007 (inclusive), 1963-2007 (bulk). Schlesinger Library, Radcliffe Institute, Harvard University. 1941 births
American women activists
American women historians
American anti-war activists
American women bloggers
American bloggers
American columnists
American women columnists
20th-century American novelists
21st-century American historians
American humanists
American political writers
American relationships and sexuality writers
American socialists
Anti-poverty advocates
Feminist studies scholars
Living people
Members of the Democratic Socialists of America
People from Butte, Montana
Reed College alumni
American socialist feminists
Workers' rights activists
American atheists
American abortion-rights activists
Rockefeller University alumni
American women essayists
American women novelists
20th-century American women writers
Journalists from Montana
Montana socialists
American immunologists
American women biologists
Critics of postmodernism
21st-century American essayists
Recipients of the Four Freedoms Award
New American Movement
21st-century American women writers

masks:
Barbara Ehrenreich
Barbara Alexander
John Ehrenreich
Barbara Ehrenreich
Barbara Ehrenre


title: Max Miller (jazz musician)

texts:
<mask> (November 17, 1911 – November 13, 1985) was an American jazz pianist and vibraphone player. He had a forty year career that peaked in the 1940s and '50s. Many of his compositions use extended chord harmonies, polyphony, and polytonality and were influenced by Stravinsky, Bartók, and Hindemith. Early career
<mask> was born in East Chicago, Indiana. At an early age he learned banjo and played it in the high school band. At sixteen he joined the Musicians Union and began to play professionally. In 1927 he switched to guitar, performing mostly dixieland with bands in Indiana and Michigan.He moved to Chicago in the early 1930s and worked as a drummer and string bassist. At this time he started experimenting with the vibraphone. He worked with bands around Chicago, playing guitar, piano, and vibes, including with pianist Frank Melrose and drummer Dave Tough. He went on tour as a guitarist and vibraphonist for the Vincent Lopez Orchestra with Betty Hutton as vocalist. In 1937, at age 26, he left Lopez to become musical director at WIND radio in Chicago, where he stayed for two years, performing 21 live shows a week, often his compositions. Work with Anita O'Day
In 1939 he performed at Carl Cons' Off Beat Club with Anita O'Day as vocalist. He is credited as hiring O'Day for her first singing job.This is documented in her autobiography, High Times/Hard Times. They worked together again in 1948, including the Rag Doll in Chicago, the Continental in Milwaukee, the Flame in St. Paul, again in Chicago in 1949, and in other clubs during the 1950s. In a 1958 interview she said, "My musical co-worker since 1939. To me, <mask> is the swingin' end. I'd love to do an album with <mask>." Meeting Bechet
His quintet performed at the Three Deuces club in 1940 until the club burned down later that year. Alto saxophonist Johnny Bothwell was a member of the group.He became musical director for the Boyd Raeburn Band. In 1943 he co-led a quartet with trumpeter Shorty Sherock that included Jimmy Raney on guitar. <mask> met Sidney Bechet in 1944 when he, Smith, and Paul Edward <mask> traveled to Springfield to hear Bechet perform. They sat in with the band into the night. <mask> became friends with Bechet, and they recorded together; their first recording sessions were in 1944 and included Tony Parenti on clarinet, Zilner Randolph on trumpet, Bill Funkey on alto and tenor sax, and Ken Smith on drums. Billboard magazine's December 15, 1945 issue reviewed <mask>'s concert with Bechet and Parenti. In 1945 he became the first jazz musician to perform at Chicago's Orchestra Hall, primarily presenting his compositions, with Muggsy Spanier part of his group.On October 13, 1946 he performed in a concert presented by Green Recordings at the Civic Opera House as pianist for the Dizzy Gillespie Quintet, the Sidney Bechet Sextet, and his trio. The concert featured Bud Freeman, Jimmy McPartland. and George Barnes. During Bechet's visit to Chicago, <mask> booked time in Bachman Studios on Carmen Avenue and recorded private sessions with him. In 1947 he spent a year and a half working in California, with engagements at the Swanee Inn, the Red Feather, Angelino's, and the Haig. He returned to Chicago to perform at the Blue Note, then worked in Milwaukee and Minneapolis. 1950s
In 1950 he recorded at least six songs for Life Record Company.This was primarily original material that he had performed at the Orchestra Hall concert, including "Heartbeat Blues", "Sunny Disposition", "Fantasia of the Unconscious", and "Lumbar Ganglion Jump". In 1951 Columbia released an album of <mask> playing jazz standards as part of its "Piano Moods" series. He was backed by Earl Backus on guitar, Bill Holyoke on bass, and Remo Belli (of Remo Drum heads) on drums. In 1952, he returned to Life Records, recording at least four more sides before the company closed. He recorded for Gold Seal Records in the 1950s. He signed to a five-year contract with MCA, but he bought his way out when he learned he would lose the rights to his material. In 1953 he performed with Bechet.One of their concerts was at the Kimball Hall in Chicago with <mask> on piano, Bechet on soprano saxophone, Bill Harris on trombone, and Sid Catlett on drums. The 1954 American Peoples Encyclopedia Yearbook called their reunion the highlight of the year. <mask> continued to record in his studios. He received equipment from top companies due to his column "The Audio Workshop" in DownBeat magazine. He recorded with Bill Harris and Chubby Jackson and compiled many live recordings due to his club dates and concerts. Benny Goodman chose <mask> as vibraphonist for the "Pace of Chicago" television show filmed at the Garrick Theater in April 1952. <mask> shared the bill of the Paris Club Revue with jazz singer Joe Williams and trumpeter King Kolax.In 1956 he opened his club, "<mask> Miller's Scene" in the 2100 block on N. Clark St. in Chicago at the site of the 1929 Saint Valentine's Day Massacre. He formed a duo with violinist Eddie South and performed with violinist Stuff Smith. He shared billing with Mel Torme and then with Oscar Pettiford. At the Blue Note in Chicago, he played intermission piano opposite the Woody Herman Band. He worked with Coleman Hawkins at the Panther Room in Chicago as members of Paul Jordan's band. In 1959 he was at London House with Bobby Hackett for two weeks. Death
<mask> died in Shawnee, Oklahoma in 1985 four days before his 74th birthday after a long fight with congestive heart failure.Awards and honors
In 1940, Down Beat magazine listed him at number 20 in the Small Combos category. He was mentioned in Esquire's 1944 Jazz Book and was compared to Lionel Hampton and Red Norvo. In 1945 he was No. 2 in the Esquire All American Band New Stars category for vibraharp. In 1946 he listed seventh among pianists in Esquire, under Erroll Garner and above Count Basie, James P. Johnson, and Jay McShann. He won the Esquire New Star poll by Earl Hines and Red Norvo. He placed in the Top Ten of the Other Instruments category for vibes.These poll standings are from Esquire's 1946 Jazz Book. Studs Terkel called him "The Angry Man of Jazz", saying that he demanded rather than coaxed certain sounds from his instruments. Record producer John H. Hammond called him an "astonishing artist, second only to Lionel Hampton in proficiency". Paul Edward <mask> (no relation), former music critic, writer, and editor of Esquire Jazz Books, called <mask> "a champion of good jazz". The Who's Who of Jazz by John Chilton listed him as one of the leading figures on the Chicago jazz scene for many years. Discography

Albums
Piano Moods (Columbia, 1951)

Singles
 "Heartbeat Blues" (Life 1950)
 "Fantasia of the Unconscious" Part 1 (Life, 1950)
 "Fantasia of the Unconscious" Part 2 (Life, 1950)
 "Lumbar Ganglion Jump" (Life, 1950)
 "Sunny Disposition" (Life, 1950)
 "Jazz Me Blues" (Life, 1952)
 "Tea for Two" (Life, 1952)
 "Only You" (Life, 1952)
 "Cross Me off Your List" (Life, 1952)

References

 1944 Esquire Jazz Book, p. 117
 1945 Esquire Jazz Book, pp. 65, 68, 69, 74, 75, 106
 1946 Esquire Jazz Book, Da Capo Press, 1979, pp.37, 38, 59, 60, 64, 65, 80, 82, 91, 98, 99, 126, 127, 132, 134, 141, 190
 American Peoples Encyclopedia Yearbook for 1951, p. 650
 American Peoples Encyclopedia Yearbook for 1953, p. 542
 Chicago Sun Times, 7-21-1951, "Hot Plate" column by Studs Terkel
 Downbeat, January 1, 1940, "Small Combos"
 Downbeat, October 1938, "Hammond Says" column by John H. Hammond
 High Times/Hard Times, Anita O'Day, pp. 70-74 and 136 and 166-170
 Jazz by Nat Hentoff & Albert MaCarthy, 1975 Da Capo Press, pp. 146,161,163,166,167
 Metronome, December 1946, by George Hoefer
 Sidney Bechet: The Wizard of Jazz by John Chilton (Macmillan, 1987), pp. 157, 158, 189
 The Complete Encyclopedia of Popular Music and Jazz 1900–1950, by Roger D. Kinkle, pp. 609, 1611, 1528, 1742
 The Encyclopedia of Jazz, by Leonard Feather, pp. 333, 334, 370, 381, 392
 Who's Who of Jazz by John Chilton, 1972, pp. 43, 223, 246
  Life Records.Accessed July 31, 2009

1911 births
1985 deaths
American jazz musicians
20th-century American musicians

masks:
Edward Maxwell Miller
Miller
Max Miller
Max
Miller
Miller
Miller
Miller
Miller
Miller
Miller
Miller
Miller
Miller
Max
Max Miller
Miller
Miller