City and Text
Tag: Art
With the twenty-four stories in En Hverdags-Historie (An Everyday Story) from 1828, Thomasine Gyllembourg consolidated a new literary tradition – the realistic prose story. She shows her reader around in the external forum where everyday life takes place, ornamented with particulars that might seem like knick-knacks, but which all share in the function of making her universe recognisable actuality. While En Hverdags-Historie shows family life in a concave mirror, a number of Gyllembourg’s other short stories reflect family life in a magic mirror.When Thomasine Gyllembourg wrote her everyday stories, the nuclear family was still a new phenomenon, and she herself had lived through a considerable part of its cultural genesis. With En Hverdags-Historie, she positions herself midstream between the old family with its awareness of lineage and the new family with its orientation towards the individual, and from this vantage point she views the evolution of the family, weighs up loss and gain, and exposes the inherent cracks in the foundation of the nuclear family. The trends identified by Thomasine Gyllembourg in the 1840s thus anticipate the particular modern way of life that would be put to debate some decades later in the literature of the Modern Breakthrough.
The nineteenth century was the century of reading, and from the outset women – as readers and writers – captured a large part of the rapidly expanding literary market. Given that it was the women who had formerly been left out of the (Latin) academic culture, these women now formed the majority of all the new readers. Readers were particularly enthusiastic about entertaining prose fiction. Of the new varieties now put into production by the media, the main genres were first the fantastical (Gothic) and later the realistic novel. Women writers had access to the media, if, that is, they could tap into the readers’ desires and needs – and this they could.From the end of the eighteenth century onwards, female authors put their stamp on European popular literature in a manner that literary history has by no means chronicled to any adequate extent.
In the history of Swedish literature, Hedvig Charlotta Nordenflycht is usually credited with introducing subjective poetry. She was the first writer in Swedish literature to view her writing as a vocation, an assignment, a cultural calling in itself. This is in turn linked to her status as one of the first Swedish cultural personages to live by her pen. As Levertin writes of Mrs Nordenflycht: “She is the first modern individual in Swedish literature.”Throughout her writing career, Mrs Nordenflycht pleaded for an improvement in women’s status. She spent much time and energy refuting the contention of women’s weakness, demonstrating that the woman is just as mentally capable as the man, and arguing that she, like him, should be permitted to use her abilities and mental powers.
Ellen Key put focus on complexity. not only in connection with the women’s cause but in general with regard to the relationship between tradition and modernity. It was in connection with her efforts to reconcile the contradictions between conservatism and radicalism into something more complex that Ellen Key became a controversial figure. Her writing became a medium: it did not point inward, towards itself, it did not produce works of fiction; rather, it served as a melting pot. Her works display an immense cultural receptivity and at the same time her works stand apart in their originality, in her visionary, unifying approach. Tradition is not contrasted with modernity but is understood in the light of her commitment to day-to-day politics. The women’s cause, the working-class movement, popular education, and the modern divide between natural science and religious attitudes are an ever-present context in all of her works. Ellen Key became an organic bond between the Modern Breakthrough and the new century’s modernistic currents.
The Swedish writer Hilma Angered-Strandberg offers something of an aesthetic manifesto. She wants her fiction to spring forth, both “from a desire to write in the moment of inspiration, and from a desire to be useful, to grasp people’s ears and force them to listen to all the things that are wrong and shameful out here”. The lines are written with reference to her breakthrough work Västerut (1887; Out West), which is a collection of short stories set in the Swedish west-coast province of Bohuslän. Throughout her life, Hilma Angered-Strandberg was possessed by a desire to write. Through bitter experience, she realised that if an author wants to depict life in a credible way, she must in her fiction allow herself the lack of order that is characteristic of life itself.
The Swedish author Victoria Benedictsson felt like “a pariah, a mangy dog”. Before she settled on the pseudonym Ernst Ahlgren, she had long vacillated between the alternatives ‘Tardif’, the tardy, and ‘O. Twist’, the unwelcome. Her authorship is based on this conflict of identity. “I am a woman. But I am an author – am I not, then, something of a man as well?”, she wonders in 1888. Her own life was short and ended tragically.But for a period of a few years in the middle of the 1880s she was astonishingly productive. Her works spoke to the core of the morality controversy’s debate over female identity. Her intellectual vitality during this short period stands in contrast to the image of a sickly, doomed person, which has dominated her posthumous reputation.
In texts by female authors, work can often be combined with love and marriage, no matter whether the woman chooses regular paid employment or whether she, as is more frequently the case, becomes her husband’s partner or colleague. If, on the other hand, the woman chooses an artistic profession, the difficulties immediately begin to mount.“Female authors and artists are whores”, August Strindberg wrote in a letter to Ola Hansson. When the woman leaves her sheltered position in the home and steps out into the public sphere to sell her product, and thereby also herself, to an anonymous and paying audience, she is looked upon as being everybody’s woman, a prostitute.The conflict between love and art, between duty and calling, and between everyday life and life as an artist is a theme that recurs, with variations, in the works of the female authors of the 1880s, and one that is often presented on the backdrop of the stage and with an actress or a female singer as the main character.