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I make extensive albeit not exclusive use of Wikipedia -references because of their comprehensiveness, and easy overview in terms of standardized layout, with full knowledge and evaluation of their possible shortcomings , obviously including those covered by other sources than Wikipedia itself.

The entries are put in inverse chronological order year-month-days, with date of last major revision in parenthesis at the end. All comments are welcome: The reason why I do not encourage a public on-line debate by using a stardard blog-editor is explained in my entry below on " The meaning of debate ", and perhaps in my biblical reference above as well in Plato's famous " seventh letter " about the questionable value of writing. Psykologiskt drivs jag sannolikt att skriva i den anda som präglar uttrycket "Dixit et salvavi animam meam" ["Har talat och räddat min själ"] som ofta hänförs till Kal Marx i slutet av hans kritik av Gotha programmet medan dess mening härstammar från Bibeln Hesekiel Inläggen införs i datumföljd år-månad-dag, med datum av senaste större revision i slutet inom parentes.

Alla kommentarer är välkomna och, om nödvändigt, skall besvaras. Anledningen till att jag inte uppmuntrar en offentlig on-line debatt genom användningen av en standard blog-editor finns förklarad i mitt inslag nedan ang " The meaning of debate " och kanske i min bibliska referens ovan samt i Platons berömda " sjunde brev " angående det tvivelaktiva värdet av att skriva.

Periodically arises in Sweden as in other European countries a discussion of how to avoid radicalization or facilitate rehabilitation of mainly youngsters who plan to leave for, or return to the country after, fighting for Islam in the Middle East in organizations such as IS or Daesh , or al-Qaeda. In this context our Western European world as represented by the European Commission mentions "respecting fundamental rights, promoting integration and cultural dialogue and fighting discrimination", and UNESCO puts forward some secularly "sacred" keywords such as "human rights and the rule of law, with dialogue across all boundary lines" or "intellectual and moral solidarity of humanity, human rights and human dignity".

In short my message will be that the main or only way to prevent so called radicalization and to rehabilitate extremism as seen by the Western world would be to revive Christianity. In this I also mean that the influence of Islam is conditioned by the progressive weakening of Christian faith and increasing secularization of the Western world.

This appeals to those individuals who are longing for a valid religious faith in the middle of a perceived decadent Westerns culture that attemps to divinize badly understood Democracy and Human Rights. In an earlier essay about the problems of "debate" I wrote the following about dangers in Western understanding or misunderstanding of the influence of Islam, expecting that youngsters will relinquish interest for Islamisc organizations in the name of supposed Westerns values of, as they were on one occasion recently resumed as "Reason, Democracy, Human Rights and Women's Rights", as if women's rights in the light of feminism needed a special emphasis among human rights, as also mentioned in UNESCO's "gender equality and empowering women".

This has deep implications for the ongoing debate about the relation between the Islamic and the Western world with its ignored Christian background, an issue that has been buried by the kind of politically a-theoretical debate based on logic acrobatics with a plethora of the latest ad-hoc trendy political terms cf. Their in my view neo-religion, in the eloquent words of Nawaz, hides under the ambition of, based on secularism and liberalism, i.

It seems that self-appointed representatives of dialog about Islam in the secularized Western world in the book published by Harvard University Press , completely lacking self-criticism, berate others' religious convictions by recommending their own narrative religion or religious narrative with its "more of the same": This is probably perceived by the many others as further undermining the presumed morality of the West itself as it appears to them daily in its mass media, Internet, and international television networks.

My point is that there may be a deep misundertanding of the whole issue if it is the case that human beings have an inborn sort of "religious instinct" in Carl Jung's sense that there is an inborn need of faith and an image of gods or ultimately God, as suggested by the discipline of Theology and by religions, and a majority of humans in the whole world, especially in the non-Western world, also evidenced in humanistic studies such as in Jungian thought.

Terrorism in the ultimately the result of a misunderstanding of both Christianity and Islam decurring from a religious ignorance that in turn facilitates a demonization of the opposition. Religion can be only countered or, better, met by better religion. If the West were true to its Christian heritage in thought, behavior and action, its international interventions would not be perceived as attacks, invasions or bombings of foreign countries around the world in cruzades that claim to act in self-defense and to only defend the secular gods of democracy and human rights.

It would deserve the kind of respect that may inhibit terrorism. As widely advertised, a case of so called sexual harassment in Hollywood in October did raise a worldwide wave of attention in massmedia connected to the hashtag Me Too. A neglected question is, as often is the case, "why?

Which is the fundamental reason for this supposed upsurge of indignation? And this, after all supposed advances of liberal reason, understanding, and advertisement of equality in our secularized, and sexualized society. Why all this sudden explosion of, and vociferous condemnation of abuses, paedophilia, murders, etc.

And, rationally speaking one must ask oneself whether these "vociferous" charges or allegations, in mass media, are "actually true", what that means. Sociologically speaking about numbers and statistics, it is not enough that they are "many".

It all depends upon definitions, sampling, percentages and tested evidence, such as in science and in law courts, instead of lamenting that accusers are not believed despite of perhaps speaking "truth". And, despite all accusations and refutations, we should not forget that the a juridical basis of Western law is that all people are to be considered innocent until proof of the contrary in a tribunal.

If not, abuses may turn out to be products of the "abuse industry" that I already addressed in an earlier blog entry , and to which there are many references on the net example here.

I wish to advance the hypothesis that it all is motivated by the breadown of basic values and traditions while most people sense the results of having lived in the hollow illusion of Western, and especially Swedish superiority of illuminati , boasting for its advances in reason, democratic equality between the sexes, and freedom from supposed, particularly religious, prejudices.

It hurts having to confess the persistent animality of instincts, apparently only of men despite the "liberation" of women's sexuality, sanctioned nowadays by the Swedish "state feminism", historically rooted in Swedish love-ideology and state-individualistic ethics. The instincts were and are naively supposed to be under the control of lofty reason. Many, but neither all nor even a majority of women still are supposed to remain virtual passive victims, as when the Swedish law on sex-purchase Sexköpslagen criminalized only purchase but not sale of sexual services.

Women are then supposed to accept or reject advances as in a new proposed law on obligatory "sexual consent", pending their own taste and perceived need to exploit sex in order to obtain personal advantages. Regarding the relation and interaction between the sexes or were they genders?

In my childhood in Catholic Italy, for example, I myself, as many young men, was educated to symbolize archetypal femininity with the figure of Mary, mother of Jesus Christ. I was raised with the sort of proverb that "One does not beat a woman not even with a flower". In Sweden, considered to be the Western most secular state, this reference is, or course ridiculous as, for instance, to acknowledge discussions about the meaning of the dogma the Assumption of Mary.

It can be seen as a Catholic, cultural, public enhancement of femininity that may explain why feminism later developed in the Protestant world. It will be also ridiculous to refer, for instance, to the Russian and French theologian Paul Evdokimov 's work Woman and the Salvation of the World , which also expounds Christian ideas constituting the dignity of woman.

To take a similar recent work, please consider Christian-Noël Bouwé's chapter in French on L'union conjugale et le sens du sacré - La sacralité du mariage das la théologie de Louis Bouyer , Cerf Patrimoines, English translation of the title: There is a Swedish commented translation by Göran Fäldt.: Vishetens källa - Mariamysteriet i äktenskapets mysterium - Studier i äktenskapets sakramentalitet i Louis Bouyers teologi Katolska Utskottet för Äktenskap och Familj , Skrifterie nr.

This portrays the official catholic view of the problem as exposed May in Collaboration of Men and Women in the Church and in the World. The wholesale atheist secular denial of all these views and arguments make it ridiculous, in public debate, to refer to one woman, historically main intellectual exponent of Swedish women's movement, Ellen Key , today often accused by modern feminists for being anti-feminist because of being having been labeled "difference feminist". In the , fourth edition, of her Woman's Psychology and Woman's Logic she predicts p.

It is the loss of the sense of sacrality of the intimate relation to the other person. And this brutality will be experienced as the sexual harassment of MeToo at the workplace, leading insightful critics such as the Canadian psychology professor Jordan Peterson whom I considered in another context of "debate" to search for "rules" of coexistence and cooperation between men and women at the workplace.

He did so apparently without perceiving that the so called rules may have been the neglected, rejected traditions, and roles associated with being man and woman. This is the banal idea of consensuality: A Portuguese-Brazilian commentary to the biblical Matthew 5: As Christians we must renounce to our own defense and sensitivity. Men will appear as brutal, clothed in thoughtless directedness, when traditional roles in courting, and now "dating", rituals have been removed for supposedly "sincere and direct" sexual initiatives.

In the extreme brutality of raping behavior men will express in a paradoxically, provocatively sexualized decadent society their desperate need and culturally conditioned helplessness in getting in contact with their inner femininity that would require a civilized projection upon, and elaboration with a responsive woman.

Apparent options will then be violence, feminization or homosexuality. Correspondingly, women, groomed as the men in a society without the father will expect and counter brutality with their own masculine brutality expressed at its extreme in The SCUM Manifesto see below leading ultimately to lesbian or radical feminism. Melodramatic tales of sexual harassments such as exemplified by the Swedish Radio's documentary " Ingen ger väl sig på en handikappad?

In summary it is a matter of decadent culture when traditional cultural values have been rejected, or. Remove the tradition and the problem returns. My spontanously suggested hypothesis is that the MeToo movement is what has been popularly described as "collective hysteria" or "mass psychosis" or "witch hunt" but must be regarded scientifically as a socio-psychological mass phenomenon of the type addressed originally by Gustave Le Bon in The Crowd: Going further along these lines, the phenomenon implicating "men" in general beyond individuals and implicating genetical characteristics, recalls the persecution of Jews where all Jews were incriminated for what the few did who were accused for antisocial behavior.

I happen to be reading Thomas Merton's The Seven Storey Mountain , and I also happened to think about SCUM on page where Merton tells his thoughts and feelings face the first news at the time of the beginning of the second world war:.

They did not realize that the world had now become a picture of what the majority of its individuals had made of their own souls. There are a few tenuous signs that some aspects of the problem are indirectly perceived by many women, as suggested in a program by Nathalie Rothschild at the Swedish Radio " Efter metoo: This is exemplified with Joanna Williams with her book Women vs.

Undanröj traditionen och problemet återkommer. And now over to Swedish language, starting with what I consider the best summarizing analysis of the problem, by the historian Yvonne Maria Werner:.

I metoo är kvinnan enbart ett offer [In metoo woman is in only a victim] Published in Svenska Dagbladet , 31 december Men sätter man medvetet uppnåendet av männens högsta andliga höjd som det slutliga målet för kvinnans utveckling, anser man att hon först då blivit helt människa från att ha varit "moderhona" då skall det otvivelaktigt visa sig, att liksom kvinnans intelligens försvagades genom att icke nog brukas, måste av samma skäl hennes rent kvinnliga känslor småningom försvagas.

Utbildning, arbetsvanor, arbetsval, ärvtlighet, urval, allt skall då samverka till att män och kvinnor spänna lla krafter för att frambringa materiella och andliga värden. Kvinnorna få allt mindre tid och håg för utvecklingen av de erotiska och sympatiska känslorna. Släktuppehållelsedriften skall — då kärleken icke adlar den — för dem med full rätt te sig som brutalitet.

Men vad månne den tidens opponenter skola säga? De skola säga, att…ju mindre kärleken betyder, ju mer de andligt utvecklade därför se ned på äktenskapet, dess mer har intelligens-nivån sjunkit…Det skola säga att sedan "det krämarkatiga vägandet av kön" upphört, ha de andliga värden, man fått att väga, blivit allt lättare…             Ett tillstånd, sådant det nyss målade, är lika möjligt, som familjelivets urartning under romerska kejsartiden eller som naturens undertryckande genom medeltidsaskesen…             Jag fruktar viss icke släktets utdöende genom kvinnoemancipationen.

Jag påstår att av dem, vilka ställa kvinnans uppnående av mannens andliga höjd som kvinnoutvecklingens mål, kräver logiken det medgivandet: Men de nå det icke, ty kvinnan är lyckligtvis en oändligt mycket djupare, rikare, härligare och — förfärligare varelse än kvinnosakskvinnan [läs: Ändå hängdes han ut med namn och bild i etablerade medier och förlorade sitt jobb.

Men vad händer med historien när man går till botten med uppgifterna som publicerats? I ett extrainsatt Uppdrag granskning granskas ett av de mest uppmärksammade fallen under metoo-hösten E Environmentalism and the age gap.

This is a text that was sent to me from colleagues in Brazil. I translated it from the Portuguese and include it here because it portrays and denounces a perceived cultural decline that expresses itself in a supposed clash of values between the oldest generation and the younger ones. I do not know whether the text in Portuguese was an original. It is related to two earlier blog items of mine below written in Swedish, one about " Gamla och unga " [Elders and youngsters] and the other about " Fjäska inte för pensionärerna " [Do not butter up senior citizens], as well as to one item summarizing the whole matter, written in English with the title " Parents, adult children, childish adults - Inverted identities?

Their content ultimately suggests a meditation over the Bible's eschathological content in chapter Mark 13 and Matthew Children will rebel against their parents and have them put to death. In the supermarket queue, the cashier says to an old lady: The lady apologized and said, "There was no green wave in my time.

The clerk replied, "That is exactly our problem today, ma'am. Your generation did not care enough about our environment. Our generation did not care adequately about the environment. At that time, bottles of milk, bottles of soda and beer were returned to the store. The store sent them back to the factory, where they were washed and sterilized before each reuse, and they, the beverage makers, used the bottles, a few other times.

We did not really care about the environment in our time. We went up the stairs because there were no escalators in the stores and offices. We walked to the store, instead of using our car, every time we needed to go two blocks from home. We did not worry about the environment. Even baby diapers were washed because there were no disposable diapers. The drying was done by ourselves, not in these machines electric dryers.

Solar and wind energy really dried our clothes. The younger children wore the clothes that had been their older brothers', not new clothes. At that time we had only one TV or radio at home, not one TV in each room. And the TV had a inch screen, not a stadium-sized screen which later will be discarded, as I do not know how. In the kitchen, we had to beat everything with our hands because there were no electric mixers, they do everything for us. When we sent something fragile in the mail, we used old paper as protection, not plastic bubble or plastic pellets that last five centuries to begin to degrade.

In those days no gasoline engine was used to mow the lawn, a lawn mower was used that required muscles. The exercise was extraordinary, and you did not have to go to a gym and use treadmills that also work on electricity.

We drank straight from the fountain when we were thirsty instead of using plastic cups and pet bottles that now flood the oceans. We reloaded our pens in ink countless times rather than buying another. We sharpened the razors, instead of throwing away disposable devices, when the blade missed the cut. Actually, we had a green wave at that time. At that time people would take the trolley car or buses and the boys would ride their bikes or walk to school, instead of using their parents as a 24 hour taxi service.

There was only one outlet in each room, not a wall outlet on each wall to power a dozen appliances. And we did not need GPS to receive signals from satellites in space to find the nearest pizzeria. So it is not incredible that the current generation speaks so much in "environment", but does not want to give up anything and does not think of living a little like in my time!

Now that you have read this outburst, send it to your friends who are over 50 years old, and to the young people who have everything in their hands and only know how to criticize their elders!!!

A free class taught by an elderly woman considered outdated. Med anledning av den debatt som fördes i RingP1, bl. Låt också bortse från den principiella frågan om abort skall betraktas som medicinsk vård när havandeskapet inte handlar om fara för moderns liv. Jag hänvisar till inslaget av den som ringde och jämförde barnmorskans attityd med vapenvägran. Jag vill dock overföra jämförelsen till en tänkt vapenvägran i Tyskland under andra världskriget.

Enligt då gällande lagar stiftade under den tidens demokratiskt av tyska folket vald regering ingick i en soldatuppgift att utföra order. I dem ingick att medverka i militära operationer som ledde till mord av bl.

Efter kriget i Nürnbergrättegångarna åtalades och dömdes skyldiga för brott mot krigslagarna, mord eller dålig behandling av krigsfångar, brott mot mänskigheten med mera.

Det gällde oavsett om handlingen var frivillig eller ofrivillig och "oavsett om det var eller inte var ett brott mot det lands lag där brottet begicks.

Ingen skulle bli fri från straff även om han handlat på order, även om detta skulle dock kunna anses som en förmildrande omständighet. I analysen av barnmorskans fall gäller det alltså inte att sätta patientens rätt mot barnmorskans rätt. Det gäller i stället att sätta patientens rätt mot fostrets eller barnets rätt.

Ytterst gäller det den svenska juridiska rättsposivistiska ideologin ställd mot naturrätten, d. Ett historisk exempel gällande icke abort utan kränkning av äganderätt är när Europadomstolen år avkunnade dom i målet Sporrong och Lönnroth vs Sverige och tvingade den svenska staten att förändra lagstiftningen - den s.

Lex Norrmalm - för att den skulle överenstämma med europakonventionens krav. För att påvisa vart den ytliga logiken - ofta använd vid sekulära debatter om abort - leder till när man utgår från okända eller oförstådda premisser skall jag förelägga följande referens och sammanfattning av logikern Steven D. Reproduction, Technology, and Rights.

Jämför gärna med min Some roots of the Swedish socio-ethical model. If mothers have the right to opt out of future duties towards their children by deciding to have an abortion instead, fathers too should be considered to have the right to avoid similar future duties. I also argue that fathers should be granted a mechanism by which they can exercise such a right.

The discussion is initially motivated by showing an apparent inconsistency among three widely accepted principles regarding a woman's right to an abortion, equality, and parental obligations. I argue that by allowing fathers with certain restrictions to refuse to support their forthcoming progeny, the inconsistency among the three principles is resolved. I also argue that this is the best resolution, and provide three other independent arguments in favor of a paternal right of refusal.

Om det är nödvändigt att inskränka samvetsfriheten "i ett demokratiskt samhälle med hänsyn till den allmänna säkerheten eller till skydd för allmän ordning, hälsa eller moral eller till skydd för andra personers fri- och rättigheter" är det inte diskriminering att göra så. I Europakonventionen finns det skyddsregler bl. Därutöver finns det skydd mot diskriminering art.

E Refugees or Economic Immigrants. In the secularized West in general and Sweden in particular many people believe to have basically implemented - mostly by means of  technological and social-democratic economic means - a solution to human evil, suffering and tragedies what was the meaning of tragedy , or karma , after all?

This West or Sweden is then set in contrast to a decadent and less rational surrounding world. One persists in believing that one has found or at least defined paradise on earth. Thus one cannot see or acknowledge the existence since time immemorial of inevitable suffering, or accept that we live in an unfair if not evil world.

One wants to believe that all evil and suffering either can be denied refugees are not welcome or can be relieved not only as in the officially neglected Christian spirit likke the poor widow , the good samaritan , the camel and the needle , will always have the poor among you , I was a stranger and you invited me in , and more. All this while ignoring contrasting biblical interpretations and ignoring the complexity of the Bible's references to immigration in lists that symptomatically miss the dangerously controversial Deuteronomy chap.

Or then one wants to believe that most, if not all, evil and suffering can also be prevented and repaired with money, social engineering, information, educational advertising or publicly proclaimed one's own good intentions in the workshop of paradise represented by loving motherly Sweden or, rather, Swedish state all refugees are welcome.

That is, Sweden with the richness allowed by its war neutrality, could thrive in the immediate postwar's profitable industrial production sold to destroyed European countries. Since then it has kept basking, and marketing internationally the self-image of an affluent and generous humanitarian superpower.

Much about this has already been said in The illusion of state-individualistic ethics supplemented later by the documentary firm The Swedish theory of love , as well as in books about political correctness examples book 1 and book 2.

Swedish newspapers did at last dare to display the problem as " The price of Sweden's moral hubris is too high " Göteborgs-Posten, 29 Dec. Even atheists and socialists have their way of relinquishing political correctness PC, controversially called by some also tyranny of goodness or opinion corridor and at last confessing the "moral challenge" of the Swedish refugee problem in terms of Bertolt Brecht's play The Good Person of Szechwan Dagens Nyheter, 27 Dec.

Very late about Dec. At last even a main newspaper dared to speak simple truth, i. Eventually an ethnologist and a journalist tried to summarize the whole process in a book In Swedish on Swedish immigration politics and its consequences , published in March During year charitable Sweden reports 36, induced abortions in the country, while commiserating the destiny of victims of child trafficking and controversial reports on unaccompanied refugee children , defined as up to 18 years' age.

Dramatically, the latter's number in happens to be about the same as the number of domestic abortions. Charitable Sweden wants to welcome many refugee children while not being able to welcome about the same number of their own children. Families that are not able to take daily care its own members, own children or own elders because of heavy individual work responsibilities still hope or even claim to be able to take care of an increasing number of refugees.

They are obviouly supposed to be taken care of by state or "public machine", anonymous welfare volunteers and public employees who, however, are hardly to be paid by means of increasing a high tax levy that is generally perceived as already too high.

Moreover, especially politicians and the cultural elite try to do all the above at the expense of others in society. A possible if not sure dismantling of the welfare insurance scheme is not likely to affect politicians and those who are part of or above the middle class. It will affect mainly those who are really poor old or sick, who have paid taxes all their working lives in the belief that they bought themselves a promised minimum insurance which eventually came to be used to protect even numerous non-insured.

Some of these aspects were later covered in media, e. If more needs to said: And this at different degrees of risk for our own lives or obligations to intervene, e. If we do not think ourselves and others being able to do such sacrifices, and cannot afford to take personally care of at least our own old parents, to what extent, then, do we want, are tempted to, or dare to publicly display sanctity in "playing God" particularly if done at the expense of others, while paradoxically ignoring our own Imitation of Christ?

Let me finish with a quotation taken out the review of a book about "political correctness" I wrote time ago:. He reminds that expulsion from Paradise [cf. But the paradisiacal, primordial state of peace, serenity, and freedom from conflict lives on in man as a "memory", and therefore modern man dreams of a lost Paradise, even in socialistic and communistic speculations.

Fairy tales and dreams can give what harsh, profane reality cannot provide. In contrast, traditional man is conscious of the conditions that inexorably govern creation. He knows that this brutal reality is a consequence of this expulsion from Paradise and that this is his destiny. He knows that a dream is a dream, that the world is what it is, and that man is what he is, that is, potentially a saint, potentially a villain.

Traditional man knows that he cannot dream himself away from his earthly existence. Secularized man, on the contrary, has lost this elementary wisdom. When he enters a world of tales and make-believe, the cherished daydream has a different content: He lacks a consciousness of the divine Father's presence in the world and senses an emptiness and meaningslessness that stimulates him to give himself up to endless narcissistic imaginings and speculations, which replace reality.

E On the why of rare inserts in this blog. Today's date is 25 October and I definitely realize the decreasing number of inserts per unit of time in my blog. Possibly the same will be happening with my production of scientific articles. This is consistent with I write in the explanation above in the introduction: Why and how to read this blog that is nearly the same as the position statement for my research after year , as well as elsewhere in my reflections on occasion of my 75th birthday , and about the meaning of debates if one considers each item of a blog as a contribution to ongoing debate or exchange of opinions.

As a matter of fact, each further contribution of mine to either blog or research can be seen as a paradox in face of what I have written about the meaning and meaninglessness of debates. Ultimately one must say that this paradox is being solved by my decreasing activity of writing and, in general, discussing, the more so with advancing age beyond my present age of I soon noticed, however, that I hade already expressed most of what I think should be said on another analog occasion concerning the case of the mass murder in Norway by Anders Breivik.

And so it has been going, I increasingly notice that new occasions to comment on daily events tend to be repetitions of earlier questions that have already been commented. Other examples could be the problems related to above, seen as " An attack and identity crisis in Sweden " The New Yorker , 23 October for which I would repead a similar kind of analysis I applied earlier to e.

After the latest continuous exposition to LGBT news and exhortations in massmedia I felt that I should send the following e-mail with a hint to students and former colleagues at my university:. Therefore - in full knowledge of Anglo-Saxon cultural domination in academia and society - I suggest that those who happen to understand French read or listen to the following rendering of a conference in French on Man-Woman: Felicitous Difference or Gender War?

It appears to me to be inversely related to the phenomenon of political correctness, and the grouping of similarities, as in the case of homosexuality. S Lågvattenmärke i svensk kultur, och i förakt [Low-water mark in Swedish culture, and scornful contempt ]. Jag tar mig friheten att informera om nedanstående fenomen i Sveriges ledande dagstidning eftersom jag förmodar att det är bra att känna till hur djupt folkkulturen eller debattklimatet sjunkit i landet - för att därmed dra slutsatser om vad man skall försöka förstå och göra.

Det handlar om förakt för religion och det som flera miljarder människor över hela världen tagit och tar på största allvar och med stort engagemang. Med andra ord handlar det om respekt för våra medmänniskor.

Men det handlar även om förståelse och kultur. Eftersom jag av besläktade anledningar håller på att läsa om delar av Carl Jung's samlade verk som jag först studerat för år sedan så råkade jag nyss observera följande stycke: Viewed from a safe distance, say from central Africa or Tibet, it would certainly look as if this fraction had projected its own unconscious mental derangements upon nations possessed of healthy instincts.

Senaste angreppet på religion i allmänhet och kristendom i synnerhet levereras i Dagens Nyheter den 9 november paradoxalt nog i sektionen "Kultur" , under den dunkla rubriken " Hårdrockare tycks inte väcka lika mycket sympati som anarkofeminister ". Det förtjänar inte att refereras eller kommenteras utan bara att beskådas.

Det är också intressant då det ett talande exempel: Författaren som av någon anledning erbjudits en hedersplats för sin krönika på just kulturdelens andra sida presenteras i svenska Wikipedia.

Kanske kan något uppslag erhållas från hemsidor som försöker följa upp och påtala föraktuttryck och förföljelser enligt. E  Parents, adult children, childish adults - Inverted identities? I do not cease to get amazed by what is happening not only in the feminist struggle between woman and man or between children's parents, but also between young and old people, between children and parents or grandparents. Since I myself do not have own children my image of those relations would be stuck in my memories of how it was and supposed to be in countries where I grew up, some years ago.

As it stands today I keep updated on the basis of what I see and hear around me, and in particular from friends or neighbours or from mass media. In particular I have been hearing from older acquaintances I have known for decades, whom I have followed ever since, and who in part inspired me to write by reflections in Swedish " Old and young people ", in English " On friendship and personal relations ", and again in Swedish " Do not grovel for pensioners ".

Beyond the sociologisms of " generation gap " I think about y oungsters in poor countries all over the world who risk their lives to emigrate or flee as refugees to rich countries to find work and live in locally miserable conditions in order to save and send money home to their parents.

Mid-aged sons or daughters in one of the most affluent countries of the West, where the state offers generous  generalized welfare, repeatedly ask for favors, loans, or gifts from their parents and relatives. They even request such support urgently, "today or tomorrow", since despite of decently paid employments they have not spared any buffert for unforeseen circumstances of life. Some of them cannot borrow from banks but perhaps only from friends, since apparently they are not deemed to be creditworthy or cannot afford to be bound to pay interest rates, and still less to pay amortizations.

At last, as life emergencies accumulate as if in the middle of a third world war, they start to ask or hope even for advances on inheritance - equivalent to interest-free and amortization-free long-run loans - and they ask for that from parents who may live on small pensions and barely can guarantee to be able in the long run to provide for themselves, or ultimately from needy parents who feel obliged to take bank loans on behalf of their needy adult children.

These grownup and would-be needy children ignore that if the parents in turn ever got any inheritance they would need it themselves in order to guarantee their own elderly care since obviously they cannot rely on their children who in turn claim to rely on the parents.

This is obvious also from the fact that grown up, adult  or middle-aged children tend to call on their parents or grandparents mainly when they need some money or other help, else letting weeks or even months pass without ever asking how they are doing and still less whether they need something. But they may eventually make it to come to mourn at their funeral.

And if and when their parents ever can afford to give any help, it is not sure that this will be acknowledged and that they will get any substantial thanks or more frequent calls from their needy children. In order to offset their possible feeling of guilt or shame these grown up children may even recur to strategies of self-victimization or self-image of victimization , or victim mentality masterly presented in the Swedish book Is the Swede a Human Being?

Not to mention that the parents' occasional complaints can be rebuked as being moralizing self-pity, attempts to arouse feelings of guilt, sheer bullying, or, in the best case, met with reproachful silence. In the worst case, grown-up children or grandchildren can "punish" parents or granparents by refusing to meet or even speak to them. And parents may not insist, and still less rebuke, but rather apologize, for fear of definitely losing their children's and consequently grandchildren's hoped-for affection.

This recalls what Richard Stivers writes in his book Technology as Magic: The Triumph of the Irrational , p. In the absence of cultural authority, parents increasingly use psychological techniques of childrearing to manipulate children into conformity. At one time the end of love was to create free and independent children.

Most parents, however, do not recognize the change of the meaning of love from ethical to sentimental and manipulative. And yet with an appreciation and critical knowledge of past meanings of love, parents can make a heroic effort to live out some earlier meaning of love, but they do so at the risk of isolation. As somebody expressed it: At the same time he deplores his grandmother's nagging and her sadness as self-pity and as attempts to awaken feelings of guilt in him.

Is there some advice or consolation to be offered to the old man who for unknown reasons has been insulted by a 25 years old grandchild with the epithet "motherfucker" in Swedish "skitstövel"? If you have an injury done you, you do your adversary too much honor to take notice of it, and an excessive fear of dishonor itself is dishonorable Steven Shapin in A Social History of Truth , pp. To get offended in such circumstances is to give illegimate weight and encouragement to an offender who should have been educated earlier in childhood, or ultimately brought to justice.

The question is serious enough since it also addresses the problem of duelling in the history of Western culture as that of honor killing , both related to their modern forms of bullying and abuse in our supposedly "enlightened" present culture, and amid the decline of civility. To top it off, as I have noted in my earlier blog entries referenced above, the young rebuke their elders for being stingy and unwilling to help, and blame the them for having a leisurely retirement at the youngsters' expenses , who in turn feel harrassed and offended.

In practice, it seems that when parents  and grandparents stopped to rebuke their children and grandchildren in the name of a new " children's liberation ", they also opened the door for the children's insolent rebuke and incrimination of parents and grandparents: Indeed it would be consistent with my own research on the " death of the Father ", whereby young adults have come to consider that parenthood and the whole society is supposed to supply unconditional motherly care.

And probably, from cultural viewpoint, all this goes on unconsciously in the shadow of the archetype of the " Great Mother " conceived psychologically by e. Since the main of my life has been dedicated to university education and research it natural for me to think also about the master-apprentice relationship and to events typical of university environments as analog to those between parents and children, and wonder what all this does imply for the ongoing present and for the future.

The "Great Mother" mentioned above together with the "death of the Father", also means the youngsters' revolt against , and lack of respect for, authority as traditionally represented by father and age. Thus, for instance, a young man may allow himself to gratuitously insult his innocent old grandmother and her dearest on the basis of personal frustrations, unexplained reasons, and hateful insinuations about some close relative: Or then they wander around in family meetings and private gossip in order to judge and later apply to elders, unsuspecting relatives mischievous epithetes such as "assholes" cf.

Compare with the outmoded "respect for elders". Another grown-up middleaged son or granddaughter, who in childhood never got a reprimand from the "absent father" and rather expect motherly complacency for all self-centered needs or wishes, nourish lasting resentment against anybody who rebukes them or does not satisfy their wishes or expectations.

It is indeed a good ground for narcissistic personality disorders with frequent references to the "lust principle" and their right to do what they please as a legitimate sign of adulthood and guide for their lives.

Personal sacrifice and suffering is then perceived as self-willed melodramatic martyrdom. Authority is replaced by the matriarchal "wolf pack" mob dictatorship that characterizes much ongoing political correctness: And all this within the circle of relatives, with many self-declared pacifists talking about world peace while unable to keep peace in their own extended families.

If any reader feels struck in reading these lines, that is bad enough. Others have testified that they perceive such descriptions as "sheer therapy" in view of their personal life experiences.

Swedish readers have the opportunity to experience such archetypal behaviors as described in Felicia Feldt's autobiographical "reality novel" Felicia försvann Felicia disappeared. For reviews of the book see links on the publisher's web page. Yes, "the sibling society" o r, then, at the end again the apocalyptic and already tested society in Stalinist-Maoist times: Yes, I am mainly gathering my images from a series of sources as mentioned at the beginning above.

It could have been called a reality-novel. One thing which can be said in defense of the actors of this behavior is that it is the result of faulty education in the West despite the Christian heritage.

First of all fault by the parents: After all what has has been said above, I need to confirm ritually that, of course, youngsters are not bad and elders good. I know many loving and lovely youngsters and realize that what appears as evil may be named shortcomings. And all humans including elders and myself have sinned against parents and have something good and something evil inside themselves. They should confess it without blaming "situational influences" for the evil while praising themselve for the good, as in some late psychologizing ethics.

Evil is ultimately our personal responsibility or outright sin , even if forbearance is called for when one takes into account the situational influence of the cultural-ethical decay of the family and society. It is a decay that with perverse rhetoric is acclaimed by the the type of postmodern aesthetical ethics acknowledged by Michael Maffesoli.

It is indeed a postmodernity that is tragically impervious to both criticism such as by  David Evans , Stephen Hicks , or Christopher Norris , and to the learned and complex but ambiguous and indecisive, if not outright obscuring, overview by Zygmunt Bauman. To acknowledge all this may indeed be a legitimate rhetorical requirement but I was talking about typified general trends and changes in feelings and attitudes, as in all kinds of apocalyptic and prophetic messages in the Bible.

It is significant that the Bible's Ten Commandments include " Honour thy father and thy mother " and not the other way round, related to the instinct-supported care of the offspring.

After all, it is merciful to prevent children from having to regret what cannot be undone when the parents will be dead, not to mention these parents' prior lonesome suffering while lying on their deathbed in niggardly financed, low-tax elderly care. Better to love them in life than to only cry beside their deathbed or to mourn them publicly at their funeral.

If it is too late for supposedly outdated Christian education, perhaps a minimum of respect can be evinced by a common reading, by old and young , of a resignedly and quietly humorous book like Jane Miller's Crazy Age: Thoughts on Being Old. Those who read French and insist in serious and committed intellectual work are recommended instead to study Louis-Vincent Thomas ' Anthropologie de la Mort  [Anthropology of Death, Payot ], especially the masterly chapter IV on elders and death, with emphasis on section Ab  p.

A reinstatement of respect for old age that is still typical for many world cultures may be obtained by a study of classics such as Cicero's Treatises on Friendship and Old Age , or by a study of research such as at the Life-Span Development Laboratory of Stanford university. The latter relies explicitly in part upon work in Swedish on narcissism and related issues the socio-psychological counterparts of common-language egoism by Bo Sigrell and Lena Teurnell , Mats Alvesson , Magnus Lindwall.

And all that recalls Det infantila samhället   [The infantile society] by Carl Hamilton, promptly and symptomatically mocked by a feminist icon. A book also in Swedish coupling these questions to Swedish culture or "national character" is the above mentioned Henrik Berggren and Lars Trägårdh's Är svensken människa? Gemenskap och oberoende i det moderna Sverige [Is the Swede a human being? Community and independence in modern Sweden], also reviewed by myself , and commented by Tomas Brytting in Swedish Radio's " Tankar för dagen " on the National Day 6 June text here.

Those who cannot read Swedish may appreciate some of the English literature that is the main recurrent reference in the article, by dr. Twenge , the author of Generation Me , who also co-authored with W. Keith Campbell the later The Narcissism Epidemic. I recommend strongly this overview, disregarding my dissent about the suggested roots of the phenomenon that elsewhere I did conceive in different terms of ethics and social psychology.

All this having been said I also confirm my knowledge and conscious dismissal of the humorous anedoctal historical accounts of complaints, since Socrates, against earlier young generations, an example being in Swedish , Dick Harrison's Historiens sju "värsta" generationer [History's seven "worst" generations].

They miss content and meaning, being an illustration of the rhetorical postmodern relativization of values and cultural issues. E  The meaning of "Debate" oneliners. On occasion of my retirement I intended to complete my research that had been neglected because of managerial duties, and to summarize my experiences and reflections in one or several publications. The more I studied and reflected, the more I got convinced that the main problem was not the lack of debates, books, publications, experiences, reflections, but rather the lack of wish, will, courage, that is "lack of time" , to select readings, to read, to think, or to understand in depth and to act upon knowledge that is still valid and already available.

But it is obvious that debates about an issue have an intrinsic value, at least initially, as an expression of human respect or friendship, as a test of one own's arguments and as a way of understanding others' mind or psyche. This is partly analog to the situation of a physician who must have a contact with ill people and illness in order to get a chance to understand and cure it, or to assist with palliative care.

If one conceives writing as the building up of a relationship between the writer-author and the reader, I perceive the problem as being the difficulty of creating in the Western culture's latest trends a genuine I and Thou relationship in the sense of Martin Buber's "dialogue and existence.

The contrast to Buber's I and Thou is then illustrated by the changeover to I and all of you, since I cannot afford the time to write to each of you individually.

You all are the mass of my massmedia. Facebook and Twitter, as examples of the latest debate techniques represent networked fragmentation opposed to the systems concept, and are some of the latest additional onslaughts of technology with hypothetical advantages and paradoxical cumulative waste of the time it would have been required to form a personal committed oldfashioned letter.

This is accompanied by other psychosocial phenomena that historically were grasped by the Danish social critic Søren Kierkegaard , and summarized by Prof. Richard Stivers in the book on Technology and Magic: The Triumph of the Irrational , pp. On occasion of my 70th and 75th birthdays, when the issue of available time and the meaning of it all becomes increasingly acute, I tried to summarize this insight in my virtual research summaries.

Publications and peer-reviews, which are considered to be the criteria for academic success, can also be perceived as examples of present sterile debates, i. Conversely, everything that may be understood as criticism of the closest peers must be selectively silenced in order not to endanger the esprit de corps or collective identity of the alliance.

It is not necessary to go so far as to politics in order to, justly or unjustly, perceive this phenomenon of cronyism also typically appearing as suspicion in university departments.

The basic idea for such a successful career is to prioritize the avoidance of creation of enemies, and the promotion of vulgar versions of Machiavellianism , with disregard of Aristotelian ideas of true courage. I myself could easily recognize early among graduate students those who would make such a rapid career, behaving with exquisite meekness, far from appearing as simple smartalecks, to the point that they claimed that their responding to hard arguments with silence was motivated by "respect".

In this context students can be perceived by older professors as children or grandchildren are perceived by parents in the dialectics I described elsewhere under the label of Parents, adult children, childish adults - Inverted identities? A much more important and nowadays dominating phenomenon related to cronyism is, of course, the controversial and extremely complex political correctness that I considered elsewhere in the context of my review of a book on organizational self-desctruction, by organizational psychologist Howard Schwartz.

Alternative expressions of political correctness appear in the phenomena of bias and suppression in the supposedly scientific process of peer review.

The important thing here is to note how such phenomena undermine not only dialog but also debate including politics. They become display of fears, struggles of power and of self-affirmation. All this undermines communication and dialog from an ethical point of view but still presupposes a "semantic understanding" of what others say or write. Richard Stivers in the earlier mentioned book on Technology and Magic pp.

Stivers, on the basis of Email, predicts Tweet-Facebook language when describing how talk shows on television and radio "reduce dialog to the level os street talk - emotional outbursts, simple assertions, and elliptic sentences". All this while mass culture "is based on the creed that everything can and must be made effortless and immediately understandable. Words that express this dream are the following, abstracted from a PhD dissertation on human-experiential design: There should be no conscious effort in the behaviors, because experience has already made possible the series of right actions, but unconsciously, in that it uses the memory that our bodies know, erasing the awareness of people as users but not as humans, and the need of willpower to act.

To be pleasant and invigorating, life should be free of the need to always be conscious of the environment in which we exist. Stivers continues adducing a study conducted at the University of Texas that found that less than half of the sample of adults could understand a plainly written paragraph. Others found that students increasingly think in "nonsequential and visual ways.

Summarizing various research Stivers observes further that where once visual images were subject to language, now language is becoming subordinate to visual images. The meaning of life becomes exclusively aesthetic and now resides in cultural experimentation as in technologically conditioned consumption, lifestyle, and entertainment.

Now we have "communication" rather than speech, writing, literature, art; we have "relationship" or "network" of "networked friends" rather than friends and lovers. People think less and less in sentences and allow themselves to be led more and more by words or at best, as I wrote, by twittered, facebooked, e-mailed oneliners. Stivers refers particularly to the phenomenon of "plastic words" that were defined by Uwe Poerksen as words that aspire to be scientific or technical burt end up being amorphous, having as chief purpose to "provide security and perform exorcisms".

I myself noted that supposedly scientific words are no longer defined. His language is old fashioned and his plays can be uncomfortably wordy. But his genius was astounding. His novels which preceded the plays are considered classics. As a founder of realism, he is viewed as co-equal with Ibsen and Chekov. He also wrote expressionistic plays full of the supernatural, poetry and dreams. After a year-long series of staged readings, and creation of an archival website, the Strindberg cycle debuted in repertory on October 12, including four all-day marathons of the entire cycle of which I attended the first the last will play this Sunday, November We'd seen his most famous anti-heroine, Miss Julie, of the eponymous play, kill herself enough times and watched enough Strindberg and Helium videos to buy into his bad rap: He might be one of the fathers of modern drama, we thought, but he's a sad, angry little misogynist whose works practically bludgeon audiences with their misanthropy and severe realism.

We are not alone. The Chamber Plays in Rep is in its final week, knows all too well its audience's preconceptions of the Swedish playwright, but that hasn't stopped the company from setting out to change them.

Like chamber music compared to symphonies, they are distilled versions of some of his larger works. They're also thematically related, tropes and phrases, plot points and character types popping up from one play to the next. Finally, they were written for, if not an actual chamber, Strindberg's own Intimate Theater, which in contrast to many other playhouses in the early 20th century, was small enough in size to allow for subtle performances instead of huge, readily visible gestures.

La vendetta di Strindberg è diventata scrittura e ha preso forma nel confronto tra le due interpreti. Ma dove può sembrare che il trofeo conteso sia un uomo, questi si rivela essere solo la scusa attraverso cui Madame X e Mademoiselle Y esprimono e a tratti reprimono la loro passione complice. Angry, educated black workingman John Bongile Mantsai is teased by his white employer's dangerously disconsolate daughter Julie Hilda Cronje. Julie is just a little older than the post-apartheid era, John just a little older than Julie.

They have wanted and hated each other for as long as either can remember. The tables turn, and turn again, and soon these two symbol-engorged hardbodies are ON the table, testing its limits Farber directs and choreographs this acrobatic, sometimes aerobatic carnal combat to the very edge of artsploitation — and then over it, in a bloody cascade.

Farber whose superior MoLoRa paired The Oresteia with the Truth-And-Reconciliation Commission, to haunting effect is orbiting closer to the sultry, blood-drenched pulp of Django Unchained than she might be willing to admit.

A belated thank-you, Angry Dead Swedes, for helping perfect the modern hate-fuck! Radio, tv, och tidningar uppmärksammar hans död. I ljuset av detta fokuserar Lambda nordica på norm, avvikelse, makt och motmakt. Det tredje numret för i år kallas Inte ett Strindbergsnummer — tillägnat Siri von Essen Litteraturvetaren, Liv Saga Milton, skriver om den lesbiska tematiken i August Strindbergs roman En dåres försvarstal.

Hon analyserar romanen och undersöker romantisk vänskap, frigörelse och kvinnlig homosexualitet. Hennes bidrag är att låta dessa tre idéer samexistera, något som tidigare forskning inte gjort. Hon gör det genom att lyssna på huvudpersonen i romanen. L Almqvists bok Drottningens juvelsmycke. Berggren gör en queerstudie och analyserar kontexten utifrån sexualpolitiska och kulturhistoriska termer. Hon låter andra bilder kring kön och sexualitet växa fram, bilder som går emot de normativa ideal som återfinns i Strindbergs verk.

I Inte ett Strindbergsnummer- tillägnat Siri von Essen finns även två essäer. Att synliggöra alternativ, skriven av Moa Holmqvist som är doktorand i litteraturvetenskap, undersöker litterära kanon.

Den andra essän Revolusjon i litteraturen på Cuba handlar om den kubanske författaren, Virigilo Piñera, skriven av professor emeritus, Briger Angvik. Sist men inte minst finns även nekrologer och recensioner. Brazil, São Paulo Strindberg é celebrado no ano de seu centenário Diário do grande ABC, quarta-feira, 14 de novembro de Em , não faltaram oportunidades de se comprovar a potência da obra deixada pelo dramaturgo sueco August Strindberg. No ano que marca o centenário de morte do escritor, uma série de espetáculos recuperaram seus textos.

Comprovaram a permanência de seus diagnósticos, a atualidade de suas reflexões sobre os enfrentamentos entre os sexos e as relações de dominação. A peça "Credores", que estreia nesta quarta-feira em versão de Nelson Baskerville, no Sesc Ipiranga, mereceu recentemente duas outras montagens: Outra de Elias Andreatto, protagonizada por Reynaldo Gianecchini.

Nos últimos meses, o público também pôde acompanhar "Júlia", recriação que a diretora Christiane Jatahy fez do clássico maior do autor: Sem a preocupação de se ater ao original, Jatahy adaptou o enredo para a atualidade. Matizou a trama com elementos de discriminação racial.

Valeu-se ainda de câmeras e procedimentos cinematográficos para aproximar a plateia da violência dos conflitos. Para celebrar a efeméride, houve ainda um grande número de leituras cênicas que celebraram o centenário e podem, no futuro, render outras montagens. As informações são do jornal O Estado de S. Siri von Essens svåra liv "Vad menar ni med kärlek? Av Lars Landström Allehanda 14 november Det kom blixtsnabbt.

Något sådant som åskan, tidvattensvågen, ett vattenfall, stormen. Det högsta, det mest meningsfulla, det närmaste gudomlighet människan får uppleva i sitt liv".

Den scenen är en av de mest centrala i Lena Einhorns roman "Siri". Siri Wrangel blev förstummad av svaret från den unge mannen. Kanske var det precis då som kärlekshistorien mellan Siri von Essen och August Strindberg började. Lena Einhorn berättar tidigt i sin roman om skilsmässan. Lasse Beischer frågar om de vet vad de ger sig in i, och pappan nickar energiskt. Salongen är fullsmockad med positiva förväntningar. Josefine Andersson och Lasse Beischer var med då, och utgör nu kärnan i den fria gruppen Schtunk, som för traditionen vidare.

Som vanligt går själva berättelsen mot alla odds i mål: Skådespelarna gör sina roller, ibland med stort allvar, och kommenterar däremellan texten, sitt eget och de andras spel, scenografin, ljuset och kostymerna. De pratar med publiken, fångar upp skratt och kommentarer, förolämpar och skäller på oss. Och vid denna Stockholmspremiär lapar vi i oss allt och ber om mer. Med minsta möjliga uppmuntran råmar, bräker och kacklar vi, utan att det känns tillgjort! Intresset för teater och August Strindberg har följt henne genom livet.

Hennes morfar var skådespelare vid Strindbergs teater Intiman i Stockholm och gift med teaterchefens syster. Vid kvällens författarmöte på Almedalsbiblioteket pratar hon om Strindberg som en troende tvivlare och om trosmotiv i hans dramer.

Under har hon föreläst runt om i landet om Strindberg och kristen tro. I Visby fokuserar hon på Strindbergs förhållande till religionen. These sensual stimuli, though, are only a foretaste of conflagrations to come. Farber has created a parched and blistered world in which every living soul is highly combustible tinder, and the rules for living keep melting.

But this is a fire that chills as it destroys. You may well leave the show in a sweat, but it is likely to be a cold one. Yet while it remains a fixture in the canon of modern drama, it seldom works onstage. Ann's Warehouse new home at 29 Jay Street in Dumbo. Yael Farber adapted and directs the drama that played to acclaim at the Edinburgh Fringe Festival earlier this year. Mies Julie began previews Nov. Here's how it's billed: The visceral struggles of contemporary South Africa are revealed as a deadly attraction spirals out of control between John and Julie who battle over power, sexuality, mothers and the land.

Haunting and violent, intimate and heartbreaking, the struggles take place among the characters and with their ancestors, laying bare questions of what restitution and freedom can really mean and what losses can and cannot ever be recovered.

The play will be staged as part of the centenary celebrations of the works of Strindberg, who was popularly known as the Shakespeare of Sweden. The Strindberg centenary celebrations are not the first activities in which the Swedish government has supported Zimbabwean arts and culture. There has always been a link between Sweden and Zimbabwe. The play is a story that asks pertinent questions about fatherhood. Questions brought out in the play include: Who is the father of the child?

Can any man declare with absolute certainty that he is the father of his children? The sexual connection between Julie and John is palpable, as are the inbred class barriers and unhealed psychic wounds from the past. Men så är det också en Polettipjäs som ska avsmakas på Dramaten.

Och öronpropparna lär behövas för dig som inte går igång på hardcore eller metal. För av 40 minuter föreställning är ungefär 30 en teatral konsert med bandet Jesaiha vars texter också har fått ge föreställningen dess namn.

Och då talar vi tung metal med hela rekvisitan — läs blod, kräk och demoner. Så kallar också Nils Poletti uppsättningen för en iscensatt skräckelkonsert, kanske som en kombination av skräck, äckel och hotell. Se trata de un montaje que surgió a partir de la inquietud personal del director teatral Fausto Ramírez, por interpretar a los clásicos de la dramaturgia internacional desde la época del siglo de oro hasta aquellos que fueron muriendo en el siglo XX.

La inquietud de Ramírez llegó aún más lejos, cuando se decidió por interpretar a uno de estos clásicos, en este caso Strindberg, pero desde una propuesta en el presente, con problemáticas que presentan los jóvenes en la actualidad.

Según Fausto, traer un texto de August Strindberg a la contemporaneidad es complicado por dos factores: Sin embargo, comentó en entrevista, fue necesario hacer una propuesta abierta que abordara el problema de las diferencias entre clases sociales de forma muy natural.

La dificultad fue asumir que se vivía en el presente, a pesar de ser un clásico al cual se le podía contextualizar de forma histórica. Para el director del montaje, Strindberg y cualquier dramaturgo clásico sigue vigente, en la medida en que un actor lo haga suyo. La obra se ha presentado en diferentes partes de la República y volverá a los escenarios de Jalisco en febrero o marzo de Riksteaterns gästspel på Åbo Svenska Teater 6.

Föreställningar på Esbo Stadsteater 8—9. Det blir jag inte slug på, sade Strindberg. Riksteaterns bidrag till Strindbergåret är en uppsättning av Dödsdansen i kombination med den nyskrivna enaktaren Vi har det bra av Camilla Blomqvist. Det är en fantasieggande idé att låta någon skriva en uppdatering av äktenskapsdramat med motsvarande rollbesättning. Det kan också kännas bra att Strindberg plockas ner från den piedestal vi placerat honom på.

Och det känns spännande att någon utmanar Strindberg i hans paradgren — att bygga ett rafflande drama om relationer, makt och förnedring, kanske lite kärlek. Anslaget är lovande, friskt stiliserat. Strindbergs utförliga scenanvisningar börjar läsas av en torr inspelad röst, som strax hakar upp sig. Man har struntat i inredningen och i stället ritat möbleringen med krita direkt på väggen. Dörren har också vuxit igen, in och ut tar man sig endast med svårighet. Hela upplägget är klaustrofobiskt, men lutar också åt gammal svartvit film.

Där fnissar man inombords första gången, hos Strindberg kan man ju inte sluta prata Ett klipp och klistra-projekt. Ja, så beskriver skådespelaren Maja Runeberg arbetet bakom pjäsen 4 x Den starkare som har premiär på tisdag på Norrbottensteatern.

Hon är den drivande kraften bakom uppsättningen som bara kommer att spelas fyra gånger, där varje föreställning är unik. Jag blev gravid och födseln var planerad till veckan innan premiären för höstens revy. Därför kunde jag inte medverka i den och jag är inte typen som tycker det är kul att gå hemma, säger hon. Några pengar fanns inte men idéer.

Det är Strindbergsår och jag tyckte det skulle vara roligt att göra Den starkare som är en dialog mellan Fru X som talar och Fröken Y som är helt stum under föreställningen. Jag visste att de gick fyra tjejer på Luleå kulturgymnasiums spetsutbildning i teater och tänkte att det vore roligt att experimentera och se vad som händer om de fyra fick spela den stumma rollen i varsin föreställning, menar Maja Runeberg.

The story starts from Gustav visiting Adolf to take revenge on her ex-wife Takla. Gustav induces Adolf to doubt his wife, and in the end Adolf kills himself for the shock. The male characters are like Strindberg himself in the past and in the present, or one person divided into two. The author's life seems to be projected in the play. What Strindberg truly lived appears in Adolf while what Strindberg would have wished appears in Gustav who succeeds in revenge.

Johan August Strindberg has a number of nicknames: Strindberg had had a wide range of jobs: Through all these jobs, we could guess his high intellectual level, psychological wandering, and a life of ups and downs coming and going between various religious lives. Kastler wurde in der ehemaligen Hammerschmiede in der Klamschlucht geboren und wuchs in Klam auf.

Bürgermeister Josef Fraundorfer ließ es sich nicht nehmen, dieses wertvolle Geschenk persönlich in München abzuholen. Dabei versprach er dem Künstler, dass sein Werk in Klam einen würdigen und für jedermann sichtbaren Platz erhalten werde. Bei der Enthüllung werde er — falls ihm seine Gesundheit dies erlaube— selbst anwesend sein, so Kastler.

Next week the winner of the prize will be announced and BBC Radio 4's The World at One programme will be broadcasting interviews with all six of the shortlisted authors. Sue Prideaux explained to presenter Martha Kearney that she wanted to bring a new perspective to the life of Strindberg: It was a superb performance by Anita Björk, combining youthful beauty and charm with undertones of ambition and determination, and many predicted that she had a brilliant international future.

But when Anita Björk reported for duty on the set in Hollywood accompanied by her lover, the writer Stig Dagerman, and their daughter, Warner Bros took fright at employing a star with an illegitimate child and sent her packing; the role went to Anne Baxter instead.

The year marks one hundred years since August Strindberg's death. More information about August Strindberg can be found on the web site, www. While theater historians and scholars speak of Strindberg with the fervency normally associated with Shakespeare, only five of his over sixty plays are produced with any kind of regularity: First and foremost are the circumstances in which I saw it: Its lead actor, Timothy McCown Reynolds, had walked from his home in Bushwick all the way to the theater in midtown Manhattan for the tech rehearsal the day before it opened.

How can one help but be impressed by the dedication of Rabbit Hole Ensemble? Yet it is about as far from a bio-drama of the great Swedish dramatist as a play whose main character is named August Strindberg could be. Yes, there are a few scenes with Siri Annalisa Ledson , the first of his three wives, and with one of his daughters also played by Ledson. But this Strindberg spends more time in conversation with his landlady Alyssa Simon , who compares him to Edgar Allan Poe, as well as with a war veteran and a young musician both played by Adam Griffith and a beggar woman Tracy Shar.

How does it feel? I don't know how someone sits down with a sketchpad and draws forth a portrait or landscape from a pencil in his hand; or how someone else sits down at a keyboard and causes beuatiful music to emanate when she touches the keys. What we call talent—or sometimes genius—is ineffable and awesome and deeply mysterious. Edward Elefterion—a theater artist endowed with prodigious amounts of talent—explores this notion in his new play, Alone.

It's inspired by August Strindberg, and though I'm far from an expert on the subject, it's clear that the play is filled with vignettes and allusions to the great man's life and art. It takes place during August's middle age, after his wife has left him and it seems as though his creative power has abandoned him as well.

He's returned to the city of his birth, taken up residence in a boarding house, and spends his days searching for inspiration. By the end of the play, he's found it, and appears ready to enter a new phase of productivity.

A montagem das atrizes Nicolé Córdery, Suaudeau e Clara Carvalho tem trilha que reúnem composições de Piazzolla e Bela Bártok, já a linguagem mistura elementos do teatro e do cinema. Von Ferö Südwest Presse Ausgetragen wirr er sinnigerweise in deren Kinderzimmer auf bonbonrosafarbener Schaukel und grellgrünem Schaukelpferd. Zugang ermöglicht nur ein enger Spalt in einer erotisch aufgeblasenen Plastikskulptur. Über den Ausgang der Tragikomödie gibt schon die erste Szene Aufschluss.

Der Rittmeister besteigt ein Spielgerüst und lässt sich auf dem Schaukelpferdchen seiner Tochter nieder. Ein lächerlicher und todernster Beginn, über den dank eines unübertrefflich agierenden Rainer Appel niemand lacht. The Chamber Plays in Rep: Directed by Rob Melrose. One character tends to bleed into another in the five plays that make up Cutting Ball Theater's "Strindberg Cycle.

For the little theater's hugely ambitious project - staging all of August Strindberg's late chamber plays in repertory the first time it's ever been done - director Rob Melrose has cast the same actors in similar roles wherever he can. The tactic works to underscore Strindberg's recurring themes.

But it also exposes the limitations of his dramaturgy - and why the seminal Swedish playwright has long been more honored in America by citations of his influence than by actual productions. It's still an impressive effort to mark the centennial of Strindberg's death - with a large acting ensemble, an in-depth website and incisive new translations by Paul Walsh available from Exit Press. Five-play marathons take up the final two weekends. Deutschland, Würzburg Mainfranken Theater: In einer Gesellschaft, in der der Mann nach geltendem Recht die alleinige Entscheidungsgewalt besaß, war das ein heißes Eisen, auch wenn die Frau sich zusehends emanzipierte.

Vor diesem Hintergrund spielt sich der Niedergang eines Mannes ab. Es entwickelt sich ein hochkonzentrierter Krieg der Geschlechter auf engem Raum, ohne Fluchtmöglichkeiten. Laura, längst entfremdete Frau des Rittmeisters, intrigiert kaltblütig gegen ihren Ehemann, um sozusagen das alleinige Sorgerecht für die jährige Tochter Bertha zu erringen.

Detta firas med en jubileumsföreställning på Boulevardteatern i Stockholm just den dagen, med Lennart R Svensson i pjäsens enda roll. Dramaten Pressrealease Skräck och äckel när Strindberg möter hardcoremetal 1 nov, Nu är det dags för den tredje premiären i Nils Polettis Satans Strindberg-projekt i Lejonkulan: Alkoholism, egoism, dämoner, kroppsvätskor, ångest och skräck, säger Nils Poletti om uppsättningen.

Jesaiah är ett hardcoremetalband från Stockholm som bildades Bandets första fullängdsalbum, Et Tu, Hope släpptes hösten Satans Strindberg är en serie snabba och experimentella produktioner. Under våren har Malin Stenberg och Magnus Roosman gjort produktioner med snabbt, oväntat och drastiskt som ledord. Under hösten är det alltså Nils Polettis tur, och till sin hjälp har han scenografen Markus Granqvist och kostymören Lena Lindgren.

Pressansvarig Kontor 56 Mobiltelefon erik. La obra de Lorena Ballestrero, con dirección de Luis Cano, un trabajo de experimentación de la autora a partir de sus lecturas de August Strindberg, plantea interrogantes sobre los lazos familiares.

Teatro San Martín, Av. Miércoles a sábados a las 21, domingos a las México Llega a su fin la temporada de Señorita Julia Esl Economista, 1 Noviembre, La puesta en escena, Señorita Julia, que se presenta en el Museo de la Ciudad por el grupo teatral, EspeKtros, concluye su temporada, por lo que el 3 y 10 de noviembre serán sus dos últimas funciones a las 8: La obra más famosa de August Strindberg fue representada por este grupo en el , mientras que la temporada por concluir fue realizada de manera especial con motivo de los 10 años de EspeKtros y conmemorar el centenario de la muerte de Strindberg.

Señorita Julia otorgó reconocimiento mundial a August Strindberg en medio de una terrible crisis matrimonial, cuando su mujer intentaba recluirlo en un manicomio. La obra plantea un combate encarnizado por el poder entre una señorita aristócrata y su criado, donde es una constante la lucha de clases y de sexos.

Julia y Juan rompen el orden social y moral al fundirse en su pasión amorosa en la noche de San Juan. Repetitionerna av pjäsen Den starkare blev en laddad sista uppgörelse mellan August Strindberg och Siri von Essen. Den recensionen publicerad 16 oktober lockade dock inte en större publik till Sollefteå Amatörteater den 19 oktober. Tribadernas natt spelade för en publik på 13 personer.

Jag såg pjäsen på Centrum i Ullånger i lördags. Publiken var sisådär personer. En skaplig publiksiffra för en liten ort. Det blev också en tät föreställning som fick stående ovationer av publiken. Jag tänkte på hur annorlunda min första teaterupplevelse i Sollefteå var.

Karin Bergstrand, Camilla Persson Clowner är ingenting att leka med. Det oberäkneliga är en del av deras karaktär — och det dubbeltydiga. En clown gör allt för ett skratt, vilket inkluderar våld och självplågeri.

En clown är inte rädd för att få blåmärken, varken på in- eller utsidan. Den svenska varianten av det clowniska scenspråket kommer från pedagogen Mario Gonzales som fostrat såväl Morgan Alling och Per Sörberg som Schtunk. A total of 24 Strindberg plays were performed, beginning with Miss Julie. By Deniz Hellberg Stark Insider Write SI at info starkinsider.

In the post social democratic heaven of the world, one has the opportunity to apply for diverse regional and governmental culture funds.

The main motive of all this government support is to create a theatre culture which supports minority, women and children rights. It is important to emphasize that art policy is the matter of discussion here, as distinct from political party agenda.

The motivation for applying for support for branding the Swedish language, or strengthen the awareness of Swedish history, art or classics abroad, has proven utterly ineffective and impossible. No such culture support even exists and it is against the bureaucratic rules and culture policies to give support to such artistic projects. The ignorance and lack of interest in Strindberg is surprising. The Chamber Plays in Rep has no shortage of headline-makers. It falls on the th anniversary of Swedish playwright August Strindberg's death.

It's also by far the largest project the small, year-old theater company has ever embarked upon. The five plays, all directed by Rob Melrose, involve 13 actors including the celebrated James Carpenter , new translations by Paul Walsh, and partnerships with universities across the country to develop a dynamic new website.

But one of the most interesting aspects of the production is a quieter one: Theater scholars generally regard three playwrights as the fathers of modern drama: Strindberg, Henrik Ibsen, and Anton Chekhov. According to Walsh, however, Strindberg is treated more like an "absentee father" because he was so ahead of his time. Strindberg, says Walsh, "was trying to figure out what it would mean to live in the 20th century" while his contemporaries, particularly Ibsen, were stuck in the 19th.

It is performed predominantly in Swedish, injecting this heavily deconstructed version with an earthily rhythmic authenticity. Av Kim Nilsson Norrtälje Tidning 30 oktober Många tänker sig August Strindberg som en självsäker och stark person, men nära sin död var han cancersjuk och svag. Den sistnämnda versionen av författaren är sällan porträtterad, men Nicke Wagemyr gör en tolkning i en egenskriven monolog som fått titeln Enslingen i blå tornet.

Jag gjorde mycket research då, så det fanns en bra grund när jag började skriva, säger han. Tillsammans med regissören Marianne Tedenstad och skådespelarna Pernilla Parszyk och Carina Perenkrantz kommer han till konsthallen i Norrtälje i november för att tre gånger uppträda med en temakväll.

Först spelas hans monolog, som följs av en paus och sedan Strindbergs Den starkare. Först Strindberg själv och sedan ett av hans verk. Det blir världspremiär för Nickes monolog, säger Marianne Tedenstad. Jag sjunger bland annat en av hans sånger, säger Nicke Wagemyr. Dreams don't typically make great stories, even on the blessed occasion that the storyteller isn't completely bananas. The University of Illinois Department of Theatre is attempting to tell a crazy man's dream story anyway, however, as it presents August Strindberg's "A Dream Play," showing through Nov.

Strindberg forged the European Expressionist movement as a writer and visionary and was incredibly influential in his craft; a bevy of impressive predecessors have cited him as an influence Tennessee Williams and Ingmar Bergman, anybody? But as Strindberg's career progressed, so did his dementia.

After battling his way through a series of psychotic episodes seriously , Strindberg decided it was time to bring the feeling of defeatist paranoia and misery to the masses.

In it, Strindberg unabashedly flies in the face of convention by writing a play in which neither the passage of time, nor character or plot development, are subjected to the traditional constructs of literature and performance art. Founder Rob Melrose has focused on works written by Strindberg near the end of his life. Both of the plays that opened last night were dark pieces.

Her adult children attempt to come to terms with their realization that their mother unnecessarily starved them, killed their father, and covered her tracks with a passel of lies. Her lush red dress, which provided the only color on otherwise dark stage, had echoes of the Cindy Sherman painting of Salome.

Relationer dansande till döds Av Lars H. Eva Maria Benavente Dahlin. Deras texter från förra sekelskiftet lyfte fram de borgerliga familjeidealens förljugenhet och skärskådade moralens bräckliga grunder. Äktenskapet som ett fängelse är metaforen i Dödsdansen. Inte symbolistiskt beslöjat utan krasst och expressionistiskt utslängt. Det är ett kargt och skoningslöst kammarspel.

Som i ett krig finns inga vinnare, bara förlorare. Tolkningen tar fasta på den svartvita polariteten och renodlingen i dramat. Man har förkortat och stiliserat på ett stilkänsligt sätt. Scenografin är kongenialt enkel och skissartad; Grovt klumpig och raffinerat pricksäker på samma gång.

Men ett förkortat tidsförlopp gör samtidigt den psykologiska utvecklingen mindre trovärdig. Det som sker, sker lite för snabbt helt enkelt och det blir tvära kast i en del övergångar. Detta framhäver spelets yttre gestik och det groteska och koleriska. Skådespelarna är hängivna i sina gestaltningar. De tar ut svängarna ordentligt i enlighet med den ytans grotesk som regin driver. Det är effektfullt och skickligt spelat. It's celebrating the centennial of August Strindberg's death by producing all five of the Swedish playwright's "Chamber Plays" in rotating repertory, in crisp new translations by Paul Walsh.

Cutting Ball artistic director Rob Melrose of San Rafael commissioned Walsh to translate the three Chamber Plays he hadn't already tackled, and the five translations have been newly published by Exit Press. This is the first time all five have been performed in rep in any language. Strindberg wrote the Chamber Plays late in life, in and , for the Intimate Theater, a small theater in Stockholm.

They're not called chamber plays because they have few characters or take place a single location which they don't , but because they riff on motifs in the manner of chamber music, and because they provide an intimate look into the internal turmoil of the characters. Melrose directs all the shows with the same 13 actors in different permutations. The smallest cast for any of the plays is eight actors, and although none have characters in common, some of the same types keep showing up.

The three programs run in repertory until Nov. Omedelbart inleds en verbal maktkamp mellan de tre där Augusts och Siris skilsmässa plötsligt blir viktigare än den stundande premiären.

UK Not born to bend: These are battles of the classes, of the sexes, of comedy and tragedy, of beliefs, of desires and consequences, of anyone and anything. The placid s trappings and the presence of a telescope aimed at a starry night sky a prop for an ongoing, cryptic eclipse allusion belie the sense of desperation inside Señora Julia. Mathias började med graffiti i mitten av talet och har uppmärksammats som graffitikonstnär och illustratör i publikationer både i Sverige och internationellt.

Han har aktivt målat graffiti sedan slutet av talet Med en digital slumpgenerator plockas bilder från Internet som Mathias och Thomas använder för att illustrera Strindbergs teori kring det slumpartade skapandet. Målerisviten kompletteras med en ljusinstallation som nyttjar Berns Asiatiska till att skapa en ljusskulptur i ständig slumpmässig förändring.

Utställningen visas på Berns mellan den 1 november till den 29 november. För mer info, bilder och intervju: Rosenmeier's first New York plays in a decade, during which she has been making high marks both as an international film maker and as an actress in European and L.

The film examines why Rosenmeier's humanitarian mother, Jessie Rosenmeier, established orphanages, schools and adoption agencies throughout India, seemingly prioritizing orphaned Indian children over her own three kids. Du möter honom i hans romaner, dramer och konst — som alltid var mer eller mindre självbiografiska, i hans efterlämnade brev och inte minst som en ständigt växande myt.

Hyllad och hatad, Strindberg är ingen enkel person att sammanfatta i ett par paragrafer, men det går inte att förneka att han är en ikon. För att uppmärksamma årsdagen av hans bortgång har Sveriges främsta utövare av den ikoniskt laddade seriekonsten gett sina tolkningar.

De utvalda serieskaparna har haft olika ingångar till den svenska allkonstnären: Sammantaget ger detta en bild av Strindberg, kanske inte som han var i kött och blod, utan mer av hu han finns kvar i våra sinnen.

Via akvarell, tusch, gouache, pastell, krita och inte minst en skarp blick, får vi en annorlunda vision av den omsusade, upphöjda, bespottade, glömda, beundrade och stilbildande svenska författarikonen, August Strindberg. Följande serieskapare har deltagit i projektet: Fredrik Strömberg och Josefin Svenske Koordinator och kontaktperson: Strindbergs drama spelas av clowner som ger det nytt blod och helt nya perspektiv. Clownen närmar sig de existentiella grundvillkoren rakt framifrån.

Bokstavligt, med maximal styrka och sårbarhet, med full insyn för publiken och med storslagen utsikt över nuet. Vår hyllning till Strindberg blir den roligaste, galnaste och mest våghalsiga Dotterbolaget är en fri teatergrupp baserad i Stockholm. Vi spelar nyskriven dramatik, av kvinnor för alla. Den här gången har vi gjort ett undantag och spelar en död mans mycket levande text. Den Starkare är gruppens fjärde clownföreställning.

Camilla Persson, Karin Bergstrand Regi: Madeleine von Sivers Premiär 31 oktober kl Madeleine von Sivers, producent madeleine dotterbolaget. Strindbergs skugga i Nordens Paris Norstedts boken. Hur väcker man liv i de döda? Hur bygger man en bro mellan det förflutna och nuet? Hans övertygelse är att vi har mycket att lära från den majoritet som redan gått bort: Den skandalomsusade Strindberg har just flytt till den danska huvudstaden från Stockholm och Giftas-processen för att sätta upp skådespelet "Fadren".

Strindbergsåret har gett upphov till en rad publikationer som befäster August Strindbergs roll som den obestridde nestorn i den svenska litteraturen. Få gör något försök att kasta nytt ljus över arbetsnarkomanen Strindberg. Elena Balzamo, rysk litteraturhistoriker, är ett undantag; hon väljer att betona Strindbergs modernitet och hans upptagenhet av att lansera sig själv i det samtida Europa. I tur och ordning avhandlas Strindberg som brevtillverkare, affärsman, familjefader och översättare.

Strindberg var en exempellöst flitig brevskrivvare, över 9 brev ur hans hand finns bevarade på Kungliga Biblioteket. På talet var det postutdelning flera gånger om dagen, så ingen som kunde skriva och läsa behövde känna sig isolerad. Denna konst, förutspådde Strindberg, var dock på utdöende. Redan på talet beskrev han i själva verket det framtida sms-meddelandet: Telegrammet, det är idealet.

Bara namnet en gång och inga titlar. Nakna sakinnehållet, utan fraser utgör texten: När Teater Oscar i Kävlinge bjuder in publiken till sin årliga pjäs blir det med en "Dejt med Strindberg".

Premiären är på fredag på Kävlinge Kulturscen. Det är år sedan som August Strindberg dog. Teater Oscar vill inte missa tillfället att utmana sig själva. Men de gör en egen variant. Det kommer dock inte kännas långt och tråkigt, utan mer som en spännande speed dating, säger Sten Erici. Totalt spelas tio föreställningar, sju i Kävlinge och tre i Lund, på Lilla Teatern.

Ett metallskrin från Strindbergs dödsbo har kommit i berättarens händer. Däri ligger dokument och papper om en Knud Wiisby, som under några år i slutet av talet ska ha skuggat Strindberg i Köpenhamn. Titanen har med Siri von Essen flytt Sverige efter Giftas-åtalet och Wiisby får i uppdrag av tidningsmakaren Edvard Brandes att skaffa fram information om den svenske författaren.

Han blir hans skugga bland författare och skådespelare. Augustpris utan Strindberg Norrköpings Tidningar , krönika är utropat som Strindbergsår. Inte för att det märktes när det kungjordes vilka som i år tävlar om det litterära branschpriset som fått hans namn.

Skämtet är rätt typiskt för det sätt som Augustpriset har utvecklats i en ängslig bokbransch, där man oroligt sneglar på varandra och fnissar lite generat om man skulle råka säga något i sammanhanget opassande.

None of the specters is frightening, however. A bigger problem is that little of the action in the opening show of Cutting Ball's historic "Strindberg Cycle" is dramatic. It's a big project for any theater company. In one of the few American contributions to the international centennial of Strindberg's death, Artistic Director Rob Melrose is staging all five of the seminal Swedish playwright's late, experimental Chamber Plays in taut, brisk new translations by former American Conservatory Theater dramaturge Paul Walsh recently published by Exit Press.

This is the first time all five have been staged together, in any language. The run closes with five-play marathons on the final two weekends. But it's also a bit of a disappointment so far. Hyllad teater närmar sig Örnsköldsvik Teater Västernorrlands kritikerrosade uppsättning av "Tribadernas Natt" är nu på turné mellan Stockholm i söder och Lycksele i norr. På lördag når den Ullånger och den 9 november är det Örnsköldsviks tur. Webben 7, Tribadernas Natt är P O Enqvists debutpjäs från och trots att den utspelar sig under sent tal, känns den brännande aktuell även idag.

Frågeställningar som jämlikhet mellan könen och inom äktenskapet, om könsmaktsordningen i hemmet och samhället, om normalitet och sexualitet samt klassamhället. Strindbergs bild av kvinnan är omdebatterad och omskriven, i hans egna böcker har han fått stå oemotsagd under ett drygt århundrade. I denna pjäs får han däremot mothugg, kvinnorna och framför allt Siri tar bladet från munnen och hans argument blir ordentligt synade i sömmarna Kia Berglund som står för regi har skapat en pjäs om människors egna motsättningar och deras egna oförmåga att ta sig ur dem.

Enligt en ny avhandling var det just deras antimodernism som ledde in dem på nya litterära former. Uppbrott och nostalgi i skandinavisk litteratur kring sekelskiftet Symposion, s. Moderna tider betyder modern konst och litteratur. Cervantes med romanen, Shakespeare med dramat, Montaigne med essän. Poesin dröjde med att bli modernistisk till talet, då den svarade på samhällets drastiska modernisering.

Ungefär så föreställer jag mig ett axiom för den som försöker föreställa sig konstens och litteraturens historia. När det gäller den litterära modernismen under talet så finns emellertid några figurer som stör bilden av att samhällsutveckling och konstutveckling sammanfaller.

Jag tänker till exempel på de italienska futuristerna med Marinetti i spetsen: Eller TS Eliot, som reagerade mot allt modernt, odlade antisemitiska böjelser och anglikansk kyrklighet samtidigt som han betydde mer än någon annan för att utveckla den lyriska modernismen. Eller sådana som Ezra Pound och Céline: I ett skandinaviskt sammanhang har Knut Hamsun länge varit ett tankekors: Men han utvecklades som bekant i en helt annan riktning: Inte undra på att han blivit svårhanterlig för litteraturhistorikern: Nils Poletti fortsätter att vrida och vända, banka på och känna in August Strindberg på Lejonkulan.

Han gör fyra korta iscensättningar under hösten, närmast som obduktioner av olika verk som är så gott som hopplöst tidsbundna. Han gör det med sedvanligt gott humör och energisk respektlöshet. Pjäsen är ett enaktsdrama om den nya religionen kristendom men också om familjelojalitet och modet att byta seder.

På ett sätt är stycket hopplöst föråldrat, en pjäs med skägg. Texten beskriver ändå något som är igenkänningsbart för, exempelvis, en invandrarfamilj.

Gamla regler ställda mot modernitet, det nya. Nils Poletti byter dock inte talet mot nutid och en hyrestrea vid slutet av gröna linjen. Han har bestämt sig för att köra vikingaspåret, komplett med hornprydda hjälmar och en närmast skräckgotisk klärobskyr som han kallar naturalism.

Ensemblen har ett operaartat utspel, ljussättningen kommer från riktiga facklor och från månljuset som faller in via dörren mot isländska vidder där pjäser utspelar sig. Anders Carlberg Det börjar bli sent på Strindbergsgåret — vilket inte hindrar att verkligt utmärkta iscensättningar ännu får premiär.

Dessutom slänger Strindberg med två konfliktfyllda äktenskapsskildringar — här är den ena struken. Anders Carlberg, nestor bland radioregissörer, har rollbesatt pjäsen med djärv intelligens.

Titelrollen tolkas av Johan Ulveson som en man som hela tiden suveränt glider från olika teatrala uttryck till djupt allvar, från ansträngd komisk ton till rädsla.

Kungen använder sin franska brytning som ett skydd, en officiell ämbetskappa. Han är preciös men aldrig fjollig. The old hothouse flower thing.

Miss Julie is too complex a play to be so easily encapsulated, however. Det kinesiska gästspelet har medfört föreställningar i Kalmar, Karlskrona och Växjö. Det var ett betydande äventyr att få vara med om denna version av Strindbergs drama som förutom de tre aktörerna på scenen också omfattade en orkester på sju man. Det blev en liten ouvertyr som lät kinesiskt enligt förväntningar, men sedan visade musiken andra takter och byggde upp en kraftfull dynamik där ett slaginstrument i trä var ständigt närvarande och blev en god vän.

Rollen som Julie gjordes av Zhao Qun, en artist med nationellt erkännande, enligt programbladet. Jean spelades av Qinggu, även han nationellt erkänd, och slutligen Kristin som bars fram av Zheng Jiao, enligt programbladet ännu student.

Det var hon som öppnade spelet med sin gracila person som tycktes nästan viktlös när hon kom med frukostbrickan till Julie som inte ville äta för att hon skickat sin förlovade på dörren.

Theater companies around the world have been doing his plays, the best known of which is "Miss Julie. You've got to be mad for Strindberg to undertake such a daunting and emotionally intense project. Strindberg på längden och tvären Under Strindbergsåret har teatrarna gjort Strindberg på längden och tvären. Maria Edström har sett några av höstens mer originella uppsättningar. Strindberg talar ändå alltid om sig själv och oss alla på en och samma gång.

Här är det Jimmy Endeley vars välspelade inkräktare i tvåsamheten som räddar showen. Runefeldts monolog är som om kvinnlig motpart talar och handlar bland annat om skapandet: August kunde inte sagt det bättre själv. Och när Kicki Brambergs helt underbare jarl Thorfinn, en ensam hedning sitter i pörtets mörka halvdager endast upplyst av eldens glöd och minns hur han satt på ett skär med blott en säl till sällskap - då vet vi att det handlar om Strindberg själv igen.

For more information, visit http: Högskolan i Skövde Pressmeddelande August Strindberg — klok och galen Mynewsdesk I år firas årsminnet av August Strindbergs, vilket uppmärkammas vid höstens andra populärvetenskapliga café på Högskolan i Skövde. Att säga att August Strindberg ständigt är högaktuell är ingen överdrift.

Han är fortfarande en av våra mest lästa författare och spelade dramatiker. Strindberg som person slutar heller aldrig att fascinera. Myterna om August Strindberg är många. Han framställs ibland som galen eller som kvinnohatare. Andra vill uppfatta honom som världsförbättrare och internationalist. Men vad vet vi egentligen om mannen, författaren, dramatikern, konstnären och alkemisten bakom myterna?

Torsdagen den 18 oktober finns möjligheten att lära sig mer om Strindberg. Då föreläser Strindbergssällskapets ordförande, Katarina Ek-Nilsson, på ett populärvetenskapligt café vid Högskolan i Skövde.

Katarina Ek-Nilsson är filosofie doktor och avdelningschef vid Institutet för språk och folkminnen i Uppsala. Ett av hennes senaste uppdrag var att presentera Strindbergsåret på bokmässan i Göteborg i slutet av september. De populärvetenskapliga caféerna är ett led i Högskolan i Skövdes uppgift att samverka med det omgivande samhället. I den folkbildande rollen ingår att nå ut med att framforskad kunskap för att höja kunskapsnivån hos medborgarna.

Förläsning med Katarina Ek-Nilsson Dag: De populärvetenskapliga caféerna är ett samarrangemang mellan Högskolan i Skövde, Folkuniversitetet och Skaraborgs Senioruniversitet.

För ytterligare information kontakta: James Minard, Folkuniversitetet Tel. Julie med många lager Av Sara Meidell Västerbottens Kuriren, 15 oktober En ordlös men nyansrik Fröken Julie på en expanderande scenyta bjuder Tyst Teater på när de greppar Strindbergs klassiker med huvudfokus på konflikten mellan form och innehåll. Med Strindberg som projektionsyta för dagsaktuella samtal under ett års tid tycker man att en del borde kunna bli sagt — dock, när märkesåret går in på sitt sista kvartal kan konstateras att både mera blodfyllda debatter liksom fördjupande samtal i gigantens spegling har varit få.

En hel del fina konstnärliga tolkningar har dock kunnat ses med god verkshöjd om än inte alltid i direkt dialog med självaste August. När Riksteaterns Tyst Teater plockar upp Fröken Julie, 30 år efter sin första uppsättning av dramat, är det med en uppsättning som genom tidstypisk scenografi och kostym väljer ett hövligt men formellt tilltal till originalverket, men som inom de klassiska ramarna fyller verket med flera lager av moment som både inbördes och gentemot ursprungsdramat tänjer och prövar sitt uttryck och hållbarheten i dess gränser.

Den skandalomsusade August Strindberg, "Giftas"-författaren, anländer till staden. Siri von Essen är med honom, äktenskapet är i upplösning. Köpenhamn är ett intellektuellt centrum. Tongivande är bröderna Brandes. Nya tankar och idéer kring konsten, moralen och politiken möts. Ulf Peter Hallberg sänker ner August Strindberg i stadens myller. Titelns "skugga" är Knud Wiisby. Han får i uppdrag av Edvard Brandes att för tidningen Politikens räkning slå följe med Strindberg och i hemlighet rapportera vad denne har för sig.

México Presentarán 'La señorita Julia' en el teatro Alvarado El Siglo de Torreon, Sábado 13 de oct Una obra de teatro que fue escrita por el dramaturgo sueco August Strindberg en el año "La señorita Julia", retrata las clases sociales europeas de este tiempo, la guerra de los géneros y el amor, y será presentada de manera gratuita este lunes 15 de octubre a las 7: La obra, que hace parte del Festival Cultural Revueltas , es una coproducción de México y España.

El acercamiento en torno al poder y temas como la lucha de clases, cada vez más habitual el siglo XVII, hacen parte de la obra que cuenta la historia de la hija de un conde que una noche decide celebrar la fiesta de San Juan junto a sus sirvientes, en ausencia de su padre.

Una puesta en escena que a pesar de haber sido escrita hace más un siglo, presenta un conflicto universal, que no pierde vigencia. Además el montaje que se presentará en el Teatro Alvarado, hace parte del clasificado teatro de culto, o contenido, ya que busca principalmente la reflexión de los espectadores.

Los pases de cortesía para la obra del Festival Revueltas "La señorita Julia", se encuentran disponibles en las taquillas del teatro. Tim Andersson åker till Gottsunda dans och teater och berörs av ensamheten i ett högspänt möte mellan Strindberg och Ibsen.

Klumpas de inte ihop så jämförs de. Det är ett ironiskt öde för två så bittra rivaler. I Resa i natten placerar Anisur Rahman dem ännu en gång bredvid varandra — bokstavligen. Han låter dem nämligen mötas på ett nattåg under en jorden runt—resa. Det blir en högspänd konfrontation, ackompanjerad av rytm och dans som skiftar i takt med världsdelarna utanför tågfönstret.

Strindberg explosivt gestaltad av Meolody Sheikh är hetlevrad, hånfull, självgod. Men också i somliga stunder blottlagd. Ibsen Mikael Strid är mjukare, mer undflyende och till en början en aning undergiven. Visst är Rahmans porträtt av de båda giganterna ibland lika schablonartade som den musik och dans som får representera kulturerna tåget färdas genom.

Strindberg blir till exempel åter igen på ett tröttsamt sätt Geniet, den intuitive skaparen som vräker ur sig litteratur i ren inspiration. Men dansen, såväl den bokstavliga som verbala, skiftar snabbt. Plötsligt har Ibsens rättfärdiga yttre fått sig ett par törnar, och plötsligt sitter Strindberg som ett barn på norrmannens rygg. Kulturrådet Pressmeddelande Nycirkus, Strindberg och hiphop stöds av Kulturrådet Mynewsdesk EU-projekt, samproduktioner, gästspel och turnéer.

Det är områden som Kulturrådet stöder när bidragen för internationell kulturverksamhet fördelas. Närmare 1,8 miljoner kronor kommer 22 projekt till del. God geografisk spridning kännetecknar sammantaget de beviljade ansökningarna. Kulturrådet har vid den tredje ansökningsomgången år behandlat 74 ansökningar från hela landet.

Ansökningarna gäller främst scenkonst och musik. Några exempel på projekt som beviljas stöd: Subtopia från Botkyrka beviljas stöd för Subcase — Nordens mötesplats för samtida cirkus som vänder sig till arrangörer från Norden och övriga Europa. Ögonblicksteatern från Umeå beviljas stöd för projektet With my eyes only som ska samarbeta med en integrerad ensemble i de palestinska områdena.

Strindbergs Intima Teater har inbjudits till Sydkorea för att medverka i en festival med verket Strindbergs Värld med anledning av Strindbergsåret.

Kulturrådet fördelar stöd till internationella kulturprojekt, samproduktioner, längre utbyten och EU-projekt i Sverige och utomlands. Kulturrådet strävar efter mångfald gällande konstnärliga uttryck och samarbetsländer. Sammantaget bidrar de beviljade medlen till att ge svensk såväl som internationell publik möjlighet att ta del konstuttryck av hög konstnärlig kvalitet. Nej är Strindbergianas redaktörers svar på frågan. Först de två texter av Mariusz Kalinowski det handlar om: Texterna finns till exempel på svenska språket på Ryska riksförbundets hemsida www.

Den som läser ryska bör därtill på bibliotek beställa D M Sjarypkins Russkaja literature v skandinavskych stranach Nauka, Vetenskapsakademins förlag, Leningrad Miss Julie By Jim J.

Tommaney Houston Press, Wednesday, Oct 10 Miss Julie August Strindberg's ground-breaking psychological drama, originally set in Sweden in , is transferred to New Orleans in the '20s, as the valet engaged to the cook beds the lady of the house, leading to complications most dire.

The setting is the large kitchen to a mansion, and the cook Christine is played by the excellent Michelle Ogletree, who creates a credible characterization of a devout churchgoer with common sense. David Matranga plays Jean, the valet, and provides the requisite good looks and a tall, imposing presence.

Miss Julie herself is portrayed by Jennifer Dean, who enters in a flapper dress and dazzles us with an exciting, vibrant characterization, floated with enthusiasm, coquettish charm and a teasing sense of command — she is wonderful, but she's soon torpedoed by the script, which requires her to become morose and hysterical.

Julia Traber directed, and obtained vivid characterizations from talented actors. The change to New Orleans in the '20s doesn't work, as the plot requires a closed society, which New Orleans in the Jazz Age is not. What's missing is the sexual chemistry between Jean and Julie.

They quarrel, they bicker, they discuss, they change their minds and quarrel again; this might be palatable if we sensed they were caught in the powerful web of sexual attraction. Without it we have a depressing drama, a quasi-tragedy, with too much exposition, and too many themes. Strindberg sensed the dark vortex of the human soul, but The Classical Theatre Company hasn't found a way to present the heart as well as the text of Miss Julie. Excellent acting goes a long way to make interesting a dated drama with an exciting opening, but one which buries itself in a dead end.

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