Lynn R. Wilkinson – författare

Emma Gad (1852-1921) was a prolific Danish playwright at the turn of the twentieth century. With sparkling prose and witty dialogue, Gad's ambitious and sophisticated theatrical productions raised important and still pressing questions about sexuality and morality-including the status of women in marriage, divorce, same-sex desire, and marital infidelity. Through her plays she engaged with contemporaries like Henrik Ibsen, Oscar Wilde, and George Bernard Shaw, yet she is primarily remembered for her etiquette book, Takt og Tone.Laughter and Civility, the first biographical and scholarly volume to examine and contextualize her dramas, deeply explores how and why influential women are so often excluded from the canon. Lynn R. Wilkinson provides insightful readings into all twenty-five of Gad's plays and demonstrates how writers and intellectuals of the time, including Georg and Edvard Brandes, took her critically acclaimed work seriously. This volume rightfully reinstates Emma Gad's work into the repertory of European drama and is crucial for scholars interested in turn-of-the-century Scandinavian drama, literature, culture, and politics.

Anne Charlotte Leffler (1849-1892) was the most important European woman playwright of the last decades of the nineteenth century and together with Ibsen and Strindberg one of the Scandinavian pioneers of modern and modernist drama. Lynn R. Wilkinson's Anne Charlotte Leffler and Modernist Drama is the first full-length study of Leffler's dramatic production. It argues that Leffler's plays deserve to be read and performed today alongside those of Ibsen and Strindberg, as they indeed were during her lifetime, and will serve as a welcome resource for new productions of her plays and studies of her work. Born the same year as August Strindberg, Anne Charlotte Leffler was a far more successful playwright in Scandinavia and elsewhere during her lifetime. After her death, however, literary histories dismissed her work as an example of the propagandistic literature of the Swedish 1880s. But beginning in the 1970s, revivals of her plays in theaters and on television have rekindled interest in Leffler and her work.Scoring her first theatrical success in 1873 with a play about a young actress who rejects marriage for a career on the stage, Leffler wrote fourteen plays that were either published or performed in theaters throughout Scandinavia and Europe - often to considerable critical acclaim. All address the situation of women, but often in connection with other issues, such as the exploitation of the working classes or the repressiveness of late-nineteenth-century European culture, and in a range of styles. Her feminist classic, the realist True Women, centers on the conflicts that arise on one household when a daughter opposes her spendthrift father's claim to the last of his wife's money. But it premiered together with the avant-garde one-act A Saving Angel, which depicts in the form of a dance the unsettling effects of urban sexuality on a group of young women. And Leffler's last play, The Ways of Truth, is a dream play that draws on flaneur narratives to show the wanderings of an intellectual heroine and her companion through scenes from late-nineteenth-century European life.

Traces the reception of Swedenborg's doctrine of "correspondences" in French literature and culture from the late 1700s to 1870.Taking as its point of departure the two poems, "Correspondances" by Baudelaire and "Les correspondances" by Alphonse-Louis Constant, The Dream of an Absolute Language: Emanuel Swedenborg and French Literary Culture traces the reception and popularization of several key Swedenborgian doctrines in late-eighteenth- and nineteenth-century French literature and popular culture, notably the doctrine of correspondences. Contrary to what Michel Foucault argued in his early Les mots et les choses, in nineteenth-century France, the word "correspondences" does not denote a break with "representation," at least as it was used by nineteenth-century French writers: rather it is intimately bound up with the taxonomic structures of natural history-and also with the desire to understand the social world in terms of an ordered and controllable totality. Because it crops up in texts we now classify as canonical and also those outside the canon, and because it is so clearly related to notions of literary structure and effect, the word "correspondences" and its transformations in late-eighteenth- and nineteenth-century France offers a vantage point for discerning how artists and writers defined their work both within and against a context of cultures defined as elite, "popular," and even ideological.