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  • 1. Bergman, Kerstin
    et al.
    Helgason, JonLinnaeus University, Faculty of Arts and Humanities, Department of Swedish Language.Lundin, ImmiRegnell, AstridLinnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.Steiner, Ann
    "Det universella och det individuella": Festskrift till Eva Haettner Aurelius2013Collection (editor) (Refereed)
  • 2.
    Regnell, Astrid
    Lund University.
    Att se stjärnor på ljusa dagen: förvandling och försoning i August Strindbergs En blå bok2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis a pattern of coherence is explored in August Strindberg’s Zones of the Spirit (En blå bok) – a literary work consisting of a collection of short and quite diverse essays. It is argued that Strindberg’s pattern of thought has its base in a concept of transformation that characterizes his descriptions of nature and human life. In the introduction, the transformation process is tied to the concept of transmutation in alchemy, i.e. how matter is transmuted through different stages of purification into perfect gold. Connections are also made to the Christian notion of conversion, made manifest in the description of the stages of the meditation process. Finally the hypothesis is put forward that Strindberg writes in a cryptic manner when using alchemical symbolism. In the first two chapters the already known facts about Strindberg’s alchemical experience and his acquaintances with devotional literature are summed up. From chapter three on follows the analysis of Strindberg’s essays classified under the subtitles “The Transformationsof Nature”, “The Phenomena of Heaven” and “The Transformations of Man”. In the last chapter, “The Transformation of Poetry”, the fluid border between fiction and reality in Strindberg’s essays is explored.A comparative methodology is adopted in order to demonstrate the role of transformation, i.e. the texts in Zones of the Spirit are compared to alchemical ideas and to thoughts on conversion, found in literature on meditation. The study shows the role of the alchemical patterns of thought in Strindberg’s comprehension of different phenomena. For instance, applying the theme of transformation to Zones of Spirit lends explanation to Strindberg’s thoughts about reconciliation, but also to his thoughts about the process between life and death and whether there will be life after physical death.

  • 3.
    Regnell, Astrid
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    August Strindberg2017In: En lundensisk litteraturhistoria: Lunds universitet som litterärt kraftfält / [ed] Katarina Bernhardsson, Göran Bexell, Daniel Möller, Johan Stenström, Göteborg & Stockholm: Makadam Förlag, 2017, p. 118-123Chapter in book (Refereed)
    Abstract [sv]

    Texten är ett bidrag till antologin En lundensisk litteraturhsitoria. Den handlar om hur Strindberg påverkade sina vänner i Lund och om vilken inverkan de hade på honom. Den utgår från ett fragment i Gröna Säcken, ett utkast till ett aldrig färdigställt drama, som fångar in stämningar och drömskt beskrivna platser från Strindbergs tid i Lund.

  • 4.
    Regnell, Astrid
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    En världsbild som bekräftar tron: Förvandling och försoning i August Strindbergs En blå bok2012In: Tron är mitt lokalbatteri: Religion och religiositet i August Strindbergs liv och verk / [ed] Martin Hellström, Skellefteå: Artos & Norma bokförlag, 2012, 1, p. 93-108Chapter in book (Other academic)
  • 5.
    Regnell, Astrid
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Konstens verklighet i En blå bok: [ The Reality of Art in Zones of the Spirit ]2016In: Strindberg across Borders / [ed] Massimo Ciaravolo, Rome: Istituto Italiano di Studi Germanici, 2016, p. 179-187Chapter in book (Other academic)
    Abstract [en]

    What is the relation between reality and imagination in the artist's production of images? I've been looking at Strindberg's thoughts about this in his late work Zones of the Spirit, using texts about artists making pictures – and those texts seem often to deal with portraying women. In the esoteric worldview Strindberg is expressing in Zones of the Spirit, imagination is a medium balancing on a transitional stage between reality and unreality, a stage which must be well balanced for the peace of art, or for the image, to work out well. The image seems to need some likeness to the regular reality to start with, but for the image to become well organized, the artist must reduce some of this similarity. The well brought about image needs also to have a resemblance with the artist's inner picture of the object, which is being produced. According to Strindberg's esoteric worldview this inner picture is far more real than the actual figure the artist is portraying. And it seems that when there is a fault in the image, it may be due to both the artist's disability to grasp actual reality and the real object's (the woman’s) disability to become alike the artist's inner picture.

    What is at stake is a struggle between art, seen as the inner picture of the artist, and the portrayed object. When portraying a beloved woman, who in real life doesn’t behave according to the wishes of the artist, the outcome of the picture is due to the artist’s capability to keep the real woman, not the picture, away from her other admirers. In this respect real objects and art, that is the artist’s inner picture of that object, are interdependent – and it seems that real life defeats art. In another example, portraying a woman aiming to analyse her spiritual disability, there is a complicated discussion of how that woman sleepwalker (in some essays associated with the artist) is incapable of grasping both ordinary reality and the higher reality, which is the artist’s medium, and therefore she can’t make up the picture she would need to see her own disabilities. Even here one can see that the process leading to a full transformation, necessary to produce a well-balanced picture, is hindered.

    To some up the thoughts on art and reality expressed in Zones of the Spirit – one would wish that art had a better and stronger influence on reality and that reality would adjust in a more proper way to the inner pictures of the artist – but alas – this is often not the case.

  • 6.
    Regnell, Astrid
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    [ Review of ] Anna Westerståhl Stenport, Locating Strindberg's Prose : Modernism, Translationism and Setting2011In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, no 3-4, p. 147-149Article, book review (Refereed)
  • 7.
    Regnell, Astrid
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    The Caterpillar Transforming into a Butterfly: The Images of Women in Strindberg's Zones of the Spirit2012In: Forum for World Literature Studies, ISSN 1949-8519, E-ISSN 2154-6711, ISSN 2154-6711, Vol. 4, no 2, p. 227-234Article in journal (Refereed)
    Abstract [en]

    I'm investigating Strindberg's images of women in his work Zones of the Spirit ("En blå bok"). I have found that Strindberg's judgement of women's character to be associated with a concept of transformation. Strindberg's thoughts about the transformation process are connected to transmutation in alchemy, i. e. how matter is transmutated through different stages of purification into perfect gold. It is also connected to Christian notions of conversion, made manifest in the description of the stages of the meditation process, i. e. when the alchemist's material is in lack of form, light and purity. The woman is compared to formless matter, which needs to be transformed by the potent power of the male to achieve meaningful life. The elements of water and earth are said to be her medium and when Strindberg is contemplating whether she will ever turn into a an immortal soul he relates to the process of the caterpillar evolving into the beautiful butterfly. To Strindberg, the most comforting of the answers to his questions about female character is that she is a medium of man's reconciliation with God.

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