August Strindberg’s Art in Modernist and Occult Context

Show simple item record

dc.contributor University of Helsinki, Department of Philosophy, History, Culture and Art Studies 2010-2017 en
dc.contributor.author Lahelma, Marja
dc.contributor.editor Bauduin, Tessel M.
dc.contributor.editor Johnsson, Henrik
dc.date.accessioned 2021-01-19T12:04:01Z
dc.date.available 2021-01-19T12:04:01Z
dc.date.issued 2018
dc.identifier.citation Lahelma , M 2018 , August Strindberg’s Art in Modernist and Occult Context . in T M Bauduin & H Johnsson (eds) , The Occult in Modernist, Art, Literature, and Cinema . Palgrave Macmillan , pp. 67-92 . https://doi.org/10.1007/978-3-319-76499-3_4 en
dc.identifier.isbn 978-3-319-76498-6
dc.identifier.isbn 978-3-319-76499-3
dc.identifier.other PURE: 107173062
dc.identifier.other PURE UUID: 2164e6e3-f10b-4760-aaf8-0b300ed73f08
dc.identifier.other WOS: 000442762100004
dc.identifier.other ORCID: /0000-0002-2418-1075/work/98555458
dc.identifier.uri http://hdl.handle.net/10138/324873
dc.description.abstract 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. en
dc.format.extent 26
dc.language.iso eng
dc.publisher Palgrave Macmillan
dc.relation.ispartof The Occult in Modernist, Art, Literature, and Cinema
dc.rights en
dc.subject 6132 Visual arts and design en
dc.subject occultism en
dc.subject occult modernism en
dc.subject August Strindberg en
dc.subject modern art en
dc.title August Strindberg’s Art in Modernist and Occult Context en
dc.type Chapter
dc.identifier.doi https://doi.org/10.1007/978-3-319-76499-3_4
dc.type.uri info:eu-repo/semantics/other
dc.contributor.pbl

Files in this item

Total number of downloads: Loading...

Files Size Format View
Lahelma_Strindberg_21_Aug.docx 39.98Kb Microsoft Word View/Open

This item appears in the following Collection(s)

Show simple item record