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- Båth, Katarina, 1977-
(author)
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Den gruvliga romantiken
- 2014
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In: OEI. - 1404-5095. ; :63-64
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Journal article (pop. science, debate, etc.)
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- Båth, Katarina, 1977-
(author)
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Ironins skiftningar — jagets förvandlingar : Om romantisk ironi och subjektets paradox i texter av P. D. A. Atterbom
- 2017
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Doctoral thesis (other academic/artistic)abstract
- This dissertation explores the intimate relationship between irony and romantic subjectivity, by drawing on feminist psychoanalytical theory, via an examination of the shiftings of irony, and humor, in the works of the Swedish romanticist P. D. A. Atterbom (1790–1855). It looks at the critical role played by irony in the formation of Romantic subjectivity, and explores irony’s potential to undermine dualistically gendered notions of subject-object relations. For Atterbom, irony is an aesthetic concept closely related to drama, informed not only by German Romantic-ironic theorists such as Friedrich Schlegel and Jean Paul, but also by the works of Shakespeare, Ludwig Tieck, and E. T. A. Hoffmann.The thesis follows the shiftings of Romantic irony in Atterbom’s major literary texts: the cycle of poems Blommorna [The Flowers] (1811), where the Ovidian transformations are used metafictively to play with the relation between poet, poem, and reader; and the literary satire Rimmarbandet [The Rhyme Band] (1810), which, inspired by Tieck’s Der Gestiefelte Kater (1797), uses the metafictive theatre-in-the-theatre motif, as well as carnivalesque and grotesque motifs to expose contrived theatricality and homosocial misogyny in the prevailing culture. The dynamic between the satirist’s subject and the attacked object is a polarized power struggle, where revolt is followed by submission. In this respect, Romantic satire is here conservative. In the fairy tale play Lycksalighetens ö [Island of Felicity] (1824–27), tragedy’s irony is a dialectic between the ideal and the real that strives to create both inner and outer renewal. The play reaches out metafictively to the reader and turns her/him into the poet of a new version of the fairy tale. The reading/writing process inscribed in the work thus becomes a form of renewal and liberation from grief, and old, patriarchal gender roles. Finally, the humorous, unfinished idyll Fågel Blå [Blue Bird] (1814, 1818, 1858) is a work in many pieces, a fragment, a sketch and a non finito that together stages a restorative creative process, where the reader is asked to take part in joining together the scattered parts of Blue Bird itself.To conclude, irony is a feature of Romanticism, which makes the Romantic, literary subject relational and dialogical, open to its Other, and herein lies a form of ethics and an escape from a conventional, patriarchal notion of the self. I discuss this with Julia Kristeva’s theories on how subjectivity changes when it becomes poetic and Jessica Benjamin’s Winnicott-influenced theory of how play can offer a way out from patriarchy’s strict gender roles. The shiftings of irony in Atterbom’s work show a development from the satirical subject, where an aggressive form of self-assertion conceals a lack of individuality – via tragedy’s painstaking efforts to integrate repressed aspects of the self – to the idyll’s more harmonious subject, who has the capacity to laugh at him/herself and see both the grotesque in the holy, and the holy in the grotesque.
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- Båth, Katarina, 1977-
(author)
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”Offersår och minnesspår”
- 2010
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In: Glänta. - Göteborg : Glänta förlag. ; :3-4
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Journal article (pop. science, debate, etc.)
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- Båth, Katarina, 1977-
(author)
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”Repetition and Metamorphosis in WG Sebald’s The Rings of Saturn”
- 2009
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In: Actual Virtual. - Manchester University : Deleuze Studies. The English Research Institute. - 1752-5624. ; :9
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Journal article (other academic/artistic)abstract
- Destruction casts its shadows over every new form of existence in W.G. Sebald’s The Rings of Saturn (1995). Central tendencies in this novel, or collection of historical essays, are those of melancholy, alienation and loss. Several scholars have defined Sebald’s writing as coloured by the effects of Holocaust, exile and loss. The Rings of Saturn, with its repeated descriptions of history’s innumerable cases of devastation and brutal waste, is no exception. Here we have a lonely wanderer at the English east coast, passive and paralysed, repetitively drawn into different memories of terror. But this repetitious journey into the most disastrous events of Western history can also be viewed as an intensified flight. Within the melancholic exhaustion of the alienated wanderer lies a hidden strength, an apocalyptic rejection, a line of flight into a becoming-animal, or becoming-insect. It is a mournful process, but it also captures the potentiality of a life. This paper uses Deleuze to discuss repetition and metamorphosis in W.G. Sebald’s The Rings of Saturn. It shows how the writer’s ‘I’ can be viewed as an indefinite article, a singular and a constant becoming, a line of escape. In this aspect, with Deleuze’s concepts of repetition, eternal return and minor literature, it tries to problematise how literature creates identity.
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- Båth, Katarina, 1977-
(author)
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The comedian's story
- 2020
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In: Scandia. - LUND SWEDEN. - 0036-5483. ; 86:2, s. 139-141
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Review (other academic/artistic)
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