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Софья Ковалевская
Книга приурочена к 150-летию со дня рождения великой русской женщины-математика С.В.Ковалевской и представляет собой воспоминания ее близкой подруги Анны-Шарлотты Леффлер. По завещанию Софьи Ковалевской книга была написана сразу после ее смерти и вышла в России небольшим тиражом в 1893 г. Книга содержит интересные и малоизвестные факты биографии С.В.Ковалевской и давно стала библиографической редкостью. Предназначена для широкого круга читателей.
140 pages, Paperback
First published January 1, 1883
50 people want to read
About the author
Anne Charlotte Leffler
93 books4 followersAnne Charlotte Edgren-Leffler, duchess of Cajanello (October 1, 1849 - October 21, 1892), was a Swedish author.
She was the daughter of the school principal John Olof Leffler and Gustava Wilhelmina Mittag. Her brother was noted mathematician Gösta Mittag-Leffler.
Her first volume of stories appeared in 1869, but the first to which she attached her name was Ur lifvet ("From Life," 1882), a series of realistic sketches of the upper circles of Swedish society, followed, by three other collections with the same title. Her earliest plays, Skådespelerskan ("The Actress," 1873), and its successors, were produced anonymously in Stockholm, but in 1883 her reputation was established by the success of Sanna qvinnor ("True Women") and En räddande engel ("An Angel of Deliverance"). Sanna Kvinnor is directed against false femininity, and was well received in Germany as well as in Sweden.
Anne Leffler had married G. Edgren in 1872, but about 1884 she was separated from her husband, who did not share her advanced views. She spent some time in England, and in 1885 produced her Hur man gör gott ("How one does good"), followed in 1888 by Kampen för lyckan ("The Struggle for Happiness"), with which she was helped by Sofia Kovalevskaya. Another volume of the Ur Lifvet series appeared in 1889, and Familjelycka ("Domestic Happiness," 1891) was produced in the year after her second marriage (to the Italian mathematician, Pasquale del Pezzo, duca di Cajanello).
Her dramatic method forms a connecting link between Ibsen and Strindberg, and its masculine directness, freedom from prejudice and frankness won her work great esteem in Sweden. Her last book was a biography (1892) of her friend Sofia Kovalevskaya, by way of introduction to Sonya's autobiography. An English translation (1895) by A. de Furnhjelm and A. M. Clive Bayley contains a biographical note on Fräu Edgren-Leffler by Lily Wolffsohn, based on private sources.
Leffler died in 1892 of complications from appendicitis in Naples, Italy.
She was the daughter of the school principal John Olof Leffler and Gustava Wilhelmina Mittag. Her brother was noted mathematician Gösta Mittag-Leffler.
Her first volume of stories appeared in 1869, but the first to which she attached her name was Ur lifvet ("From Life," 1882), a series of realistic sketches of the upper circles of Swedish society, followed, by three other collections with the same title. Her earliest plays, Skådespelerskan ("The Actress," 1873), and its successors, were produced anonymously in Stockholm, but in 1883 her reputation was established by the success of Sanna qvinnor ("True Women") and En räddande engel ("An Angel of Deliverance"). Sanna Kvinnor is directed against false femininity, and was well received in Germany as well as in Sweden.
Anne Leffler had married G. Edgren in 1872, but about 1884 she was separated from her husband, who did not share her advanced views. She spent some time in England, and in 1885 produced her Hur man gör gott ("How one does good"), followed in 1888 by Kampen för lyckan ("The Struggle for Happiness"), with which she was helped by Sofia Kovalevskaya. Another volume of the Ur Lifvet series appeared in 1889, and Familjelycka ("Domestic Happiness," 1891) was produced in the year after her second marriage (to the Italian mathematician, Pasquale del Pezzo, duca di Cajanello).
Her dramatic method forms a connecting link between Ibsen and Strindberg, and its masculine directness, freedom from prejudice and frankness won her work great esteem in Sweden. Her last book was a biography (1892) of her friend Sofia Kovalevskaya, by way of introduction to Sonya's autobiography. An English translation (1895) by A. de Furnhjelm and A. M. Clive Bayley contains a biographical note on Fräu Edgren-Leffler by Lily Wolffsohn, based on private sources.
Leffler died in 1892 of complications from appendicitis in Naples, Italy.
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Displaying 1 - 15 of 15 reviews
September 19, 2019
Om man tycker att ”Ett Dockhem” kan ses som feministisk, kolla bara på denna!
Superbra pjäs om glappet mellan det dåtida kvinnoidealet och självförverkligande. Men den går även steget längre, för vill mannen verkligen ha den kvinna som är den ”ideala hustrun”? Extremt vass, rolig och sorglig pjäs om hur det männen insisterar är en ”sann kvinnas” egenskaper egentligen inte är vad någon av dem önskar, om män som gör fel men hur skulden läggs på kvinnan i det lilla, och kanske mest ovanligt av allt - en sann realistisk kvinnlig karaktär!
Superbra pjäs om glappet mellan det dåtida kvinnoidealet och självförverkligande. Men den går även steget längre, för vill mannen verkligen ha den kvinna som är den ”ideala hustrun”? Extremt vass, rolig och sorglig pjäs om hur det männen insisterar är en ”sann kvinnas” egenskaper egentligen inte är vad någon av dem önskar, om män som gör fel men hur skulden läggs på kvinnan i det lilla, och kanske mest ovanligt av allt - en sann realistisk kvinnlig karaktär!
September 15, 2022
Berta, my dear Berta, they didn't deserve you.
This story is about the law that came through around 1874 which allowed women to own and take care of their own money and property.
Berta is my favorite protagonist. She is independent, she has a sharp tongue, she is witty and she believes that every woman has the same rights as a man. She is unmarried (she doesn't dream about getting married), she is a hardworking woman that provides for her family, while her dad is gambling all their money away. Lissi is in contrast to her sister, portraited as the real and true woman. A woman that doesn't say what's on her mind, a woman that agrees to everything her husband says, a woman that can not think for herself and doesn't have her own opinion. I can understand why this play lead to a lot of discussions.
Reading Wilhelm's (her brother-in-law) and Bark's (dad) thoughts was infuriating and I wanted to punch them several times. The thing is though, we think that we have come a long way and in many ways we have but women are unfortunately still seen as an appendage to the man. It's infuriating, I know, but still if a man supports a woman, everyone is listening but oh Lord all mighty, if a woman speaks her thoughts and isn't backed up by a man, what's the point in listening, right?
I was disappointed in the ending because Leffler didn't stay true to Berta's character. The liberated woman is portraited with egocentred intentions and she is reconciled with her destiny as a woman, which is to accept that she has been defeated by the society. I can see why Leffler did choose to end it this way. That woman was way before her time. Still, I'm disappointed.
This story is about the law that came through around 1874 which allowed women to own and take care of their own money and property.
Berta is my favorite protagonist. She is independent, she has a sharp tongue, she is witty and she believes that every woman has the same rights as a man. She is unmarried (she doesn't dream about getting married), she is a hardworking woman that provides for her family, while her dad is gambling all their money away. Lissi is in contrast to her sister, portraited as the real and true woman. A woman that doesn't say what's on her mind, a woman that agrees to everything her husband says, a woman that can not think for herself and doesn't have her own opinion. I can understand why this play lead to a lot of discussions.
Reading Wilhelm's (her brother-in-law) and Bark's (dad) thoughts was infuriating and I wanted to punch them several times. The thing is though, we think that we have come a long way and in many ways we have but women are unfortunately still seen as an appendage to the man. It's infuriating, I know, but still if a man supports a woman, everyone is listening but oh Lord all mighty, if a woman speaks her thoughts and isn't backed up by a man, what's the point in listening, right?
I was disappointed in the ending because Leffler didn't stay true to Berta's character. The liberated woman is portraited with egocentred intentions and she is reconciled with her destiny as a woman, which is to accept that she has been defeated by the society. I can see why Leffler did choose to end it this way. That woman was way before her time. Still, I'm disappointed.
February 1, 2023
"Sanna Kvinnor", skriven av Anne Charlotte Leffler, är en pjäs om kvinnors rättigheter och jämställdhet. Huvudpersonen Berta utmanar traditionella könsnormer och försöker hävda sina rättigheter i ett mansdominerat samhälle. Denna pjäs kan sägas vara en del av "Kvinnofrågan"-rörelsen i Sverige och Europa under 1800-talet, och har likheter med Fredrika Bremers roman "Hertha", som också tar upp dessa teman. "Sanna Kvinnor" är välskriven och stundtals rolig, även om den behandlar ett tema som är allvarligt och tragiskt. Sammanfattningsvis, ett tankeväckande, lättläst och underhållande drama.
May 4, 2018
Syrlig, och stark och spot-on. Hade gärna sett en uppsättning på scen!
October 25, 2024
Om ojämlika maktförhållanden mellan könen i 1800-talets Sverige. Slutet ger utrymme för diskussion.
October 26, 2021
Wilhelm.
Nej, det är rätt – inga fordringar – det skall
bli vår lösen. Full frihet – inte sant? Det vill
säga för mig – inte för dig, naturligtvis – det
vore att vända upp och ned på verlden.
Pjäsen är en öppet kritisk kommentar till det hyckleri som rådde i samhället under 1880-talet. Leffler behandlar den fasad som familjen skulle visa utåt och hur denna uppvisning krävde offer inom familjen, i synnerhet av kvinnorna: i detta hyckleri frodades lögn och förtryck.
Nej, det är rätt – inga fordringar – det skall
bli vår lösen. Full frihet – inte sant? Det vill
säga för mig – inte för dig, naturligtvis – det
vore att vända upp och ned på verlden.
Pjäsen är en öppet kritisk kommentar till det hyckleri som rådde i samhället under 1880-talet. Leffler behandlar den fasad som familjen skulle visa utåt och hur denna uppvisning krävde offer inom familjen, i synnerhet av kvinnorna: i detta hyckleri frodades lögn och förtryck.
May 25, 2025
Jag ÄLSKAR den här boken!!
Om du gillar Ibsens Ett dukkehjem, ska du gilla absolut Berta - en frigjord kvinna som kämpade för sina egna och sin mors rättigheter. Titeln “Sanna Kvinnor” sammanfattar kärnan i kvinnans arbete och villkor i slutet av 1800-talet: du är en "sann" kvinna om du underkastar dig männen, annars är du en "rebell". Men med rätta betonas att den tid då "sann kvinnlighet" innebär att man är undergiven mannen, annars är man "rebell".
Om du gillar Ibsens Ett dukkehjem, ska du gilla absolut Berta - en frigjord kvinna som kämpade för sina egna och sin mors rättigheter. Titeln “Sanna Kvinnor” sammanfattar kärnan i kvinnans arbete och villkor i slutet av 1800-talet: du är en "sann" kvinna om du underkastar dig männen, annars är du en "rebell". Men med rätta betonas att den tid då "sann kvinnlighet" innebär att man är undergiven mannen, annars är man "rebell".
September 17, 2020
2.5 stars
June 1, 2025
4,5⭐️
February 11, 2022
Berta dear, this family doesn’t deserve you.
January 7, 2026
Reading this felt like a constant battle against the "vile" men of the 19th century. The play sets up this stifling domestic environment where the mother and father don’t even sleep in the same room, and everything is fueled by trauma and addiction. The father is a gambling addict and he has the audacity to insult his wife while expecting the women in his life to clean up his messes.
The most infuriating part is the manipulation. When the father gets caught in his own mess, he immediately switches to a "power play" by threatening to kill himself just to guilt-trip the women. He calls the mother and Lissi "true women" only when they sacrifice their own happiness and money to save him. It’s a total manipulation tactic where being a "true" woman basically just means being a doormat.
Berta was the only highlight for me. She’s a real fighter for women’s rights. I loved her sarcasm at the end when she points out it’s not her wedding day so the patronizing speech isn't for her. She refuses to marry because she sees how the law allows men to ruin their wives' fortunes on gambling and "easy living" without any consequences. The men in the play claim that giving women financial rights would "dissolve family life," but as Berta so rightly says: isn't a man spending all his wife's money on gambling what actually dissolves the family?
The play is a sharp critique of the 19th-century double standard, but the ending is honestly hard to stomach. It’s depressing that the "sincere" women get exploited while the men just keep switching between being aggressive and acting like victims. I gave it a 3/5 because while Berta is a great character and the dialogue is sharp, the lack of actual justice for the women makes it a very rage-inducing read. I’m just glad I wasn't born in that era.
The most infuriating part is the manipulation. When the father gets caught in his own mess, he immediately switches to a "power play" by threatening to kill himself just to guilt-trip the women. He calls the mother and Lissi "true women" only when they sacrifice their own happiness and money to save him. It’s a total manipulation tactic where being a "true" woman basically just means being a doormat.
Berta was the only highlight for me. She’s a real fighter for women’s rights. I loved her sarcasm at the end when she points out it’s not her wedding day so the patronizing speech isn't for her. She refuses to marry because she sees how the law allows men to ruin their wives' fortunes on gambling and "easy living" without any consequences. The men in the play claim that giving women financial rights would "dissolve family life," but as Berta so rightly says: isn't a man spending all his wife's money on gambling what actually dissolves the family?
The play is a sharp critique of the 19th-century double standard, but the ending is honestly hard to stomach. It’s depressing that the "sincere" women get exploited while the men just keep switching between being aggressive and acting like victims. I gave it a 3/5 because while Berta is a great character and the dialogue is sharp, the lack of actual justice for the women makes it a very rage-inducing read. I’m just glad I wasn't born in that era.
This entire review has been hidden because of spoilers.
May 17, 2015
Den här pjäsen... otrolig! Önskar jag hade läst den tidigare.
October 23, 2019
Reread 23/10/19
Om jag måste läsa ordet kvinlighet EN GÅNG TILL
___
Denna pjäs gjorde mig så sur. Den var bra och så, men jag blev bara så sur. Jag rekommenderar den dock!
Om jag måste läsa ordet kvinlighet EN GÅNG TILL
___
Denna pjäs gjorde mig så sur. Den var bra och så, men jag blev bara så sur. Jag rekommenderar den dock!
February 25, 2016
S0m giftas fast precis tvärt om.. Schysst Strindbergskt bitter men roligare och poänger som känns mer relevanta. Berta är en hjältinna!
Displaying 1 - 15 of 15 reviews