From its first publication and performance, August Strindberg's play "Miss Julie" has been the source of critical controversy and debate. Written in the span of little more than one month in the summer of 1888, the play was banned or censored throughout Europe in the late Nineteenth Century. Because it dealt with situations and attitudes deemed morally or socially offensive (the daughter of an aristocrat seduces her father's valet, and he, in turn, coerces her to commit suicide) the initial negative reaction to the play was rooted in generalized, fanatical, self righteous outrage and did not seek to deal with or engage the text in any specific manner. Instead, "Miss Julie" was a convenient target, symptomatic of all that was corrupting and dangerous in an increasingly progressive world. By the early Twentieth Century, however, more focused moral and artistic critiques were leveled at Strindberg's self proclaimed naturalistic tragedy, a discussion that continues to thrive even today. Though some of the moral and social issues may have lost their radical edge in later decades, there is still an ongoing, lively, and deeply divided debate.
This is not to suggest that these modern critical concerns have forged superior or even different links with the past or to this piece of literature. On the contrary, I would submit that Strindberg himself, as a literary critic of his own work, established (consciously or unconsciously) the fundamental guidelines and ground rules for the interpretive controversies that have followed. By creating a dynamic tension between his theoretical, essentially pragmatic intentions in his "Preface to Miss Julie" and his creative achievements in " Miss Julie" itself, Strindberg's e...
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...wledge our inquiry provides centers around the critical orientation of each voice sounded in the debate.
Works Cited
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Sprinchorn, Evert. Strindberg as Dramatist. New Haven: Yale UP, 1982.
Strindberg, August. "Preface to Miss Julie". Michael Meyer trans., 1888. Rpt. in Strindberg Plays: One. Michael Meyer trans.
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---. "Miss Julie". Michael Meyer trans., 1888. Rpt. in Strindberg Plays: One. Michael Meyer trans. Reading, UK: Cox and Wyman Ltd., 1993.
Tornqvist, Egil and Jacobs, Barry. Strindberg's Miss Julie: A Play and Its Transpositions. Norwich: Norvik, 1988.
Williams, Raymond. Drama: From Ibsen to Brecht. New York: Oxford UP, 1968.
Harriet Jacobs and Fanny Fern both display different kinds of writing styles that shed light on women who could stand up on their own. The stories of those two women vastly contrast each other, however, the women display hardships and overcome their difficulties in a similar manner. Jacobs who goes by a different persona-- a woman’s name Linda, who is a young slave. Fern did a similar thing to Jacobs by going by a different persona, a young woman named Ruth Hall. What the two women display with their books released to the public is to give another look at what women go through. The readers of the book would explore the hardship of what the two women have experienced, thus bringing more awareness and light to women’s rights and the anti-slavery
Slavery is a term that can create a whirlwind of emotions for everyone. During the hardships faced by the African Americans, hundreds of accounts were documented. Harriet Jacobs, Charles Ball and Kate Drumgoold each shared their perspectives of being caught up in the world of slavery. There were reoccurring themes throughout the books as well as varying angles that each author either left out or never experienced. Taking two women’s views as well as a man’s, we can begin to delve deeper into what their everyday lives would have been like. Charles Ball’s Fifty Years in Chains and Harriet Jacobs Incidents in the Life of a Slave Girl were both published in the early 1860’s while Kate Drumgoold’s A Slave Girl’s Story came almost forty years later
Pellegrini, Ann. “The Plays of Paula Vogel.” A Companion to Twentieth-Century American Drama. Ed. David Krasner. Malden, MA: Blackwell, 2005. 473-84.
S., & Bedau H. (Eds.) Current issues and enduring questions: a guide to critical thinking and argument, with readings. (pp.551-552). Boston: Bedford/St. Martin’s.
Komnene, Anna. The Alexiad .Ed. Peter Frankopan. Trans. E.R.A. Sewter. New York: Penguin Classics, 2009. Print.
The major internal conflict that Janelle faces throughout the entire book is how she thinks of herself. She always seems to be arguing with herself about whether she is pretty, or whether she has a chance with Devon. Like when she was imagining herself as Mrs. Devon Hope, and then starts saying, “Dream on fool. You can stand here in the girls’ room and practice saying that name ‘til your tongue falls out, or the change bell rings, whichever comes first, and it still won’t ever be true. Face it. Devon is Denzel Washington, and you are Thighs “R” Us.” Here you can see that she doesn’t like the way she looks, and she doesn’t think that anyone else ever will, but then she goes on to say, “I mean, I am smart and funny, and I know I’m a good person.”
Hansberry had an interesting background that connects with the play she has written. In a May 2005 i...
The main character in the short story “A Rose for Emily” written by William Faulkner is Emily Grierson. She lives in Jefferson Mississippi, in a fictional county called Yoknapatawpha County. The people of Yoknapatawpha saw Miss Emily as "a small, fat woman" who was very cold, distant, and lived in her past. Her home "was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies...”. She lived in a little community that was changing and becoming more modern unlike her house. Her house, as Faulkner describes, "...smelled of dust and disuse-a close, dank smell"; "it was furnished in heavy, leather-covered furniture". The look of Emily’s home bothered Emily’s community along with many other things about her. Emily has a "hereditary obligation upon the town". She is from a family of wealth that brought tradition to Yoknapatawpha County. When the town started making modern changes fitting into the next generation Emily became stubborn and showed this by refusing to pay taxes to her county. Emily repeats, "I have no taxes in Jefferson" four times before dismissing the deputation. Thomas Robert Argiro, the author of a critical essay called “Miss Emily After Dark” states that, “[Emily]… struggles with personal grief, a restricted social life, socio-economic decline, and romantic misfortune…” (par.2). Miss Emily is misunderstood by the townspeople and is resistant to the changes around her as well in her life.
Jokinen, Anniina. "Luminarium: Anthology of English Literature." Luminarium: Anthology of English Literature. N.p., 1996. Web. 9 Nov. 2013. http://www.luminarium.org/
Scott, Clement. "Review of 'A Doll's House." The Theatre 14.79 (July 1889): 19-22. Rpt. in Twentieth-Century Literary Criticism. Ed. Paula Kepos. Vol. 37. Detroit: Gale Research, 1991. Literature Resource Center. Web. 25 Mar. 2011.
In Miss Julie, August Strindberg depicts a tormented, sadomasochistic woman held captive by ingrained and inherent restrictions posed onto her by her aristocratic class. As she attempts to break free, her escapist tendencies cause various consequences to ensue, such as her eventual death. Other characters present also engage in the same escapist desires, especially present in Jean’s longing to advance his level in society. Such ideas end in disaster for any party involved. Strindberg manifests various character’s nonconformist ideas towards exaggerated barriers between social classes, such as those of Jean and Julie, to create themes on conformity and consequence.
St. Andrews, Bonnie. Forbidden Fruit: On the Relationship Between Women and Knowledge in Doris Lessing, Selma Lagerlof, Kate Chopin, and Margaret Atwood. Troy, NY: Whitston, 1986.
Rachman, Shalom. “Clarissa’s Attic: Virginia Woolf’s Mrs. Dalloway Reconsidered.” Twentieth Century Literature Vol 18 Issue 1 (1972): 3-18
Football is a full contact sport that millions of fans watch every season even though it is not a worldwide sport yet. Baseball may be America’s past time but football is America’s obsession. It is played on a field but the athletes seem more like gladiators fighting for blood in the arena for the amusement of their fans. The sport has changed drastically over the years into an event unlike any other, from gaining fans to implementing new rules and regulations in order to keep players safe.
3. Shipley, Joseph T. The Crown Guide to the World's Great Plays. New York: Crown Publishers, Inc., 1984. 332 - 333.