The article focuses on Père, Strindberg’s French self-translation of the play Fadren (The Father), which was published in 1888. By comparison of the Swedish and French texts, I show how Strindberg domesticated the play not only by replacing several Swedish elements with French ones, but also by modifying selected lines so that a number of ambiguous and controversial elements disappeared or were softened. The main motivation for this domestication lies in Strindberg’s desire to be played in Paris and recognized as a French author, not just by Zola and the Naturalists, but also by more traditional literary milieus. Even the physical shaping of the book was subjected to domestication: Strindberg sought to publish a false French edition, which was not presented as a translation and would identify him as a French rather than a Swedish author. Moreover, domestication was also aimed at a revision and improvement of the text, as well as relating to Strindberg’s longing for ‘Frenchness’ as opposed to his Nordic ‘provincialism’.
The recent international success of Per Petterson’s novels, with translations into more than 40 languages, has engendered a rapidly growing international reception of his work. So far, this has taken place in various newspapers and literary magazines almost exclusively outside academia. The article identifies some of the recurring themes of this reception and uses these as a basis for a more expansive reading of Petterson’s fiction. My central aim is to lay bare the most important structural and thematic characteristics of his literary achievement, in the hope that this might serve as a preliminary for future academic work on Petterson.
This article presents a reading of Sigurd Mathiesens (1871–1958) short story «Asser Hein» (1903), with an emphasis on homosocial (and homosexual) desire as presented in Eve Kosofsky Sedgwicks Between Men (1985). The first part of the article is a reading of the short story with respect to Mathiesens ability to represent male homosocial and homosexual desire by employing the idea of the double – a figure often associated with the gothic genre. By resorting to the gothic, Mathiesen is able to depict «forbidden» homoerotic relations. On comparing the closing scene of this short story with that of Oscar Wildes The Picture of Dorian Gray (1891), I find that the author tries to establish an aesthetic, narcissistic rejection of desire – be it heterosexual or homosexual. The shorter, second part of this article is a critique of Knut Brynhildsvolls reading of «Asser Hein» as presented in his book Sigurd Mathiesen ? Norges bortglemte laurbærblad (2008), in which Brynhildsvoll seems to suppress the homosocial and homosexual components of Mathiesens life and work.