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- Levander, Björn, 1971-
(författare)
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Faust och Mefisto : Vadets dramaturgiska funktion i Goethes Faust I och II
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In this dissertation I have studied the relationship between Faust and Mephisto and the influence of the wager in Goethe’s Faust I and II. Decisive for its coming into being is the lack of a thorough study over the influence of the wager throughout the play. The starting point is the analysis of the acting situations, of two individuals’ togetherness and struggle. Through close reading and with the wager as a center of Faust’s and Mephisto’s relationship, the tangible content of the dramatic action is explored. Faust’s and Mephisto’s lines and actions are investigated from their respective point of view of the action, with the aim to discover the idea of the play through its characters. This approach is directly influenced by the teachings of Konstantin Stanislavskij and conducted using his tools for dialogue and action analysis. I have no particular imaginary interpretation or performance in mind, but different problems which an actor has to consider when working with a role. In what could be characterized as hermeneutic circular movements, I argue the inevitability of certain interpretations, showing that lines are “living matter” and therefore subject to change depending on the given context and the treatment of it. In a continuous discussion with other Faust scholars, general problems and positions as well as distinctions between dramaturgical and literary interpretation are presented. While, in most cases, my interpretations emerge in opposition to what has previously been written, they sometimes are confirmed by Goethe specialists, who, while using other methods, have arrived at similar conclusions. Moreover, several references are made to Peter Stein’s staging of Faust I and II (2000/2001).
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- Schnaas, Ulrike
(författare)
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Das Phantastische als Erzählstrategie in vier zeitgenössischen Romanen
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present dissertation investigates the use of the fantastic and its functions in contemporary prose, the initial hypothesis being that the fantastic is not historically exhausted, but continues to be productive. The major part of this study consists of a close reading of four novels printed between 1995 and 2001: Marie Hermanson’s Värddjuret (1995), Majgull Axelsson’s Aprilhäxan (1997), Karen Duve’s Regenroman (1999) and Elfriede Kern’s Schwarze Lämmer (2001). Tzvetan Todorov’s definition of the fantastic as structural ambiguity is fundamental to the dissertation. In order not to bind the definition to a normative concept of genre, the fantastic is in this study considered as a narrative strategy.The dissertation’s analyses demonstrate that in these contemporary novels there is considerable variation of narrative devices, as well as of intertextual motifs deriving from the ‘archive’ provided by the tradition of the fantastic. The fantastic is to a great extent intertextual, but does not merely function as a “signal of fiction” in a postmodern game where ambiguity is no longer relevant. Instead, the narrated world in these novels is characterized by a deeply-rooted ambivalence, heterogeneity and instability. Both attractive and dangerous, the fantastic corresponds to a meeting with “the other” and the unknown, while dampening the conflict between the supernatural and the natural so clearly seen in Todorov. What is central is not the crisis of perception undergone by the novel’s characters as they choose between two opposing views of reality, but their mental state of mind. These characters are in a condition of “betwixt and between”, which in all four novels is linked to the theme of the artist. Via the fantastic, Regenroman initiates a confrontation with male myths of the artist and images of women.Schwarze Lämmer also engages the romantic fantastic tradition and investigates the link between adolescent delusions of grandeur and artistic creativity. Värddjuret, on the other hand, depicts the genesis of a female artist, while Aprilhäxan presents the female artist’s monstrous image of herself and fantasies of omnipotence. An additional function of the fantastic in these four novels is to thematize a concept of reality that is based, not on the contrast between the natural and the supernatural, but on the possibility of several different realities.
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