title: Children and «Prodigal sons»: on images of children in Strindberg’s writing
metadata.name: dc.contributor.author
metadata.value: Lisovskaya, Polina
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2017-07-15T17:54:52Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2017-07-15T17:54:52Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2016-06
metadata.lang: -
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu21.2016.108
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/6793
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The theme of childhood and images of children in Strindberg’s writing have been
  largely overlooked by the scholars with the few exceptions. As a rule, focal attention
  in the studies of Strindberg’s work is given to the way the roles of the sexes and conjugal
  tensions function in his drama and prose. However, such problems as child upbringing,
  parental responsibility and ‘fathers and sons’ conflicts concerned Strindberg
  throughout his entire life, following his own evolution as writer and playwright. The
  development of child imagery in Strindberg’s work aligns him with the great authors of
  the nineteenth century, primarily with Dickens, Hugo, Zola, Ibsen, and Dostoyevsky.
  This study shows that several types of child images can be distinguished in Strindberg’s
  writing both during the pre-Inferno and the post-Inferno periods. These are ‘Child as
  Victim’, ‘Perfect Child,’ ‘Child as Angelic Creature,’ ‘Child as Savior’, as well as ‘Evil Children’
  and ‘enfants terribles’ of various kinds. The imagery of children in Strindberg’s
  writings of the 1900s are of special interest, because they represent the most mature
  stage of his life and literary activity, and were created after he had lived through significant
  psychological, philosophical, and spiritual crises, including his religious conversion
  to Christianity. The latter part of the article is devoted to a motif, which proved to
  be productive in Strindberg’s later oeuvre, namely ‘the return of the long lost son’, which
  form a natural juxtaposition to the evangelic parable of the prodigal son. Apart from
  the above it was found interesting to point out to some evident typological similarities
  between Strindberg’s Black Banners (1904) and Dostoyevsky’s Demons (1872) echoing
  each other in their treatment of ‘fathers and sons’ theme and in the sharp critique of the
  nineteenth century liberalism.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Scandinavian Philology;Volume 14; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Strindberg
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Dostoyevsky
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: “Demons”
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Dickens
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: images of children
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: the prodigal son motif
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Enlightenment rationalism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: nineteenth century liberalism
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Children and «Prodigal sons»: on images of children in Strindberg’s writing
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 08-Lisovskaya.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/6793/1/08-Lisovskaya.pdf
resources.format: Adobe PDF
resources.size: 552,06 kB