August Strindberg’s Art in Modernist and Occult Context

Tutkimustuotos: Artikkeli kirjassa/raportissa/konferenssijulkaisussaKirjan luku tai artikkeliTieteellinenvertaisarvioitu

Kuvaus

Marja Lahelma continues the theme of the modern pursuit of expressing the inexpressible and revealing the invisible, facilitated by the perception of the artist-author as a hypersensitive genius of exceptional sensitivity or even possessing higher sensibilities. Focusing on Strindberg, Lahelma concentrates her analysis upon a part of Strindberg’s oeuvre that has seen little scholarly study: his artistic works, in particular his photo- graphs and paintings. In his artistic pursuits, Strindberg aimed to reunite science and religion, a typically occultist approach and indicative of the early modernist contexts in which artistic, scientific, and occultist ideas collided, often very productively. Essential to this process was the psycho- logical theorization of the unconscious that took place in the late nineteenth century and which provided models of the human mind as multiple and fragmented. It becomes clear that Strindberg suggested in his works an interaction between the unconscious mind and extrasensory reality, even as he also proposed one between subjectivity and nature, the subjective and objective dimensions of art, the insistent materiality of an art work, and its spiritual dimension. As Lahelma argues, instead of singling out Strindberg as an isolated genius or forerunner of abstraction, he can fruitfully be positioned as a central representative of late-nineteenth- century occult modernism.
Alkuperäiskielienglanti
OtsikkoThe Occult in Modernist, Art, Literature, and Cinema
ToimittajatTessel M. Bauduin, Henrik Johnsson
Sivumäärä26
KustantajaPalgrave Macmillan
Julkaisupäivä2018
Sivut67-92
ISBN (painettu)978-3-319-76498-6
ISBN (elektroninen)978-3-319-76499-3
DOI - pysyväislinkit
TilaJulkaistu - 2018
OKM-julkaisutyyppiA3 Kirjan tai muun kokoomateoksen osa

Tieteenalat

  • 6132 Kuvataide ja muotoilu

Lainaa tätä

Lahelma, M. (2018). August Strindberg’s Art in Modernist and Occult Context. teoksessa T. M. Bauduin, & H. Johnsson (Toimittajat), The Occult in Modernist, Art, Literature, and Cinema (Sivut 67-92). Palgrave Macmillan. https://doi.org/10.1007/978-3-319-76499-3_4
Lahelma, Marja. / August Strindberg’s Art in Modernist and Occult Context. The Occult in Modernist, Art, Literature, and Cinema. Toimittaja / Tessel M. Bauduin ; Henrik Johnsson. Palgrave Macmillan, 2018. Sivut 67-92
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Lahelma, M 2018, August Strindberg’s Art in Modernist and Occult Context. julkaisussa TM Bauduin & H Johnsson (toim), The Occult in Modernist, Art, Literature, and Cinema. Palgrave Macmillan, Sivut 67-92. https://doi.org/10.1007/978-3-319-76499-3_4

August Strindberg’s Art in Modernist and Occult Context. / Lahelma, Marja.

The Occult in Modernist, Art, Literature, and Cinema. toim. / Tessel M. Bauduin; Henrik Johnsson. Palgrave Macmillan, 2018. s. 67-92.

Tutkimustuotos: Artikkeli kirjassa/raportissa/konferenssijulkaisussaKirjan luku tai artikkeliTieteellinenvertaisarvioitu

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AB - Marja Lahelma continues the theme of the modern pursuit of expressing the inexpressible and revealing the invisible, facilitated by the perception of the artist-author as a hypersensitive genius of exceptional sensitivity or even possessing higher sensibilities. Focusing on Strindberg, Lahelma concentrates her analysis upon a part of Strindberg’s oeuvre that has seen little scholarly study: his artistic works, in particular his photo- graphs and paintings. In his artistic pursuits, Strindberg aimed to reunite science and religion, a typically occultist approach and indicative of the early modernist contexts in which artistic, scientific, and occultist ideas collided, often very productively. Essential to this process was the psycho- logical theorization of the unconscious that took place in the late nineteenth century and which provided models of the human mind as multiple and fragmented. It becomes clear that Strindberg suggested in his works an interaction between the unconscious mind and extrasensory reality, even as he also proposed one between subjectivity and nature, the subjective and objective dimensions of art, the insistent materiality of an art work, and its spiritual dimension. As Lahelma argues, instead of singling out Strindberg as an isolated genius or forerunner of abstraction, he can fruitfully be positioned as a central representative of late-nineteenth- century occult modernism.

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Lahelma M. August Strindberg’s Art in Modernist and Occult Context. julkaisussa Bauduin TM, Johnsson H, toimittajat, The Occult in Modernist, Art, Literature, and Cinema. Palgrave Macmillan. 2018. s. 67-92 https://doi.org/10.1007/978-3-319-76499-3_4