Hjalmar Bergman


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Bergman, Hjalmar

 

Born Sept. 19, 1883, in Örebro; died Jan. 1, 1931, in Berlin. Swedish writer.

Bergman studied history and philosophy at the University of Uppsala and in Italy. His first published work, the drama Mary, Mother of Jesus, came out in 1905. He wrote the so-called Bergslagen cycle of novels (named for an industrial region of Sweden). The Bergslagen novels include His Grace’s Will (1910), Memoirs of the Deceased (1918), God’s Orchid (1919; Russian translation, 1959), Thy Rod and Thy Staff (1921), The Head of the Firm (1924), and The Kerrmans in Paradise (1927). In these novels realism is combined with fantasy, psychologism, satire, and grotesque humor. Bergman’s novel The Clown Jac (1930) depicts the tragic fate of the artist in the bourgeois world. Bergman is the author of the satiric plays The Swedenhielms (1925), The Dollar (1926), The Rabble (1928), and others.

WORKS

Samlade skrifter, vols. 1–30. Stockholm, 1949–58.
In Russian translation:
Rasskazy. In the collection Shvedskaia Novella XIX-XX vv. Moscow, 1964.

REFERENCES

Levander, H. Hjalmar Bergman. Stockholm, 1957.
Ek. S. Verklighet och vision. Stockholm, 1964.

A. A. MATSEVICH

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Hjalmar Bergman. Translated by Johanna Sandberg and Eric Sandberg
By then, he had already debuted as a TV director: In April 1957, only months after regular Swedish broadcasting had begun, Bergman's adaption of Hjalmar Bergman's one-act play Herr Sleeman Is Coming was transmitted.
The latest project that I had for television was a reworking of Hjalmar Bergman's play Swedenhielms for Swedish Television, broadcast on Christmas Day.
Merete Mazzarella's literary references (and they are legion) are put to more orderly use, as she takes her reader -- who feels not a little uncomfortable -- on a course through other examples of aging, from such Swedish classics as Sven Lidman's Huset med de gamla froknarna and Hjalmar Bergman's Farmor och Var Herre, through Thomas Mann's Tod in Venedig and Lotte in Weimar, through Doris Lessing and John Updike and Alison Lurie, through Kerstin Ekman, Ingrid Sjostrand, and (horrifyingly) Ulla Isaksson, through -- in Finland -- Runeberg's pathetic mother and Rolf Lagerborg (a chilling quotation about the true nature of death), and then to the neglected Paul von Martens and the much less neglected Anja Snellman.
Outside of her well-reasoned discussions of the artist Edfelt per se, Lagerroth provides the reader with a good deal of very interesting insights into the cultural and political context of Edfelt's authorship: his defining relationship with the novelist and playwright Hjalmar Bergman, his membership in the Clarte circles in Lund and Uppsala, his association with Bertil Malmberg, his important contact with Finland-Swedish modernists such as Rabbe Enckell and Elmer Diktonius, his significant work as a translator and introducer of German and English literature (Trakl, Rilke, and Eliot, to name just a few), and his elective affinity with the likes of Vilhelm Ekelund and Gunnar Ekelof.