I Identitetskris undersöks ambivalensen hos den fiktiva figuren doktor Glas. En svängande osäkerhet tar sig uttryck genom såväl karaktärens självsyn som genom de större frågor som karaktären ställer sig om människan och dess varande. Dessa tankar och frågor står att finna i de dagboksanteckningar som doktorn fingeras skriva, vilka har varit föremålet för uppsatsens analys. Doktor Glas framställs i ena stunden som ensam, viljesvag och självkritisk för att i nästa stund framställas som en man fylld av självförtroende och kraft som står över sina medmänniskor. Med hjälp av ett posthumanistiskt perspektiv kopplas karaktärens ambivalenta självsyn samman med hans uttalanden om Darwins utvecklingslära och om förhållandet djur­–människa. Glas uttrycker längtan efter ett tillstånd där människan inte teoretiserar hela sin tillvaro och istället lever mer ödmjukt och enkelt. På samma gång uttrycker han ett förakt mot människans ursprung bland djuren och förespråkar den civiliserade och tänkande människan. Analysen visar hur doktorns identitetsvacklande kan hänga samman med hans kluvna uttalanden kring människan som särskild från andra djur, från naturen och från sitt ursprung. Söderbergs stora idéroman visar sig innehålla mer känslogrund och fler paradoxer än vad man först kanske tror, när man väljer att se på den ur ett nytt perspektiv. Romanen kanske till och med kan sägas innehålla ett posthumanistiskt frö …

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The present essay is a translation study on the two French versions of the Swedish novel Doktor Glas, by Hjalmar Söderberg. As one among relatively few Swedish novels of its time, Doktor Glas has been translated and re-translated. The main purpose of this study is to identify and explain differences between the two French versions of Doktor Glas, concerning the ways the literary style of the Swedish author has been translated. By focusing on the methods of translation (transitions, omissions and the use of footnotes) used by the different translators, I examine to what extent the later ones have been successful in rendering what I call the “söderbergian” style/”le style söderbergien”. For this purpose, certain passages from the two French versions have been examined and compared to the corresponding passages within the original text. The different translators have used different methods of translation, some of which are and have sometimes been considered as controversial, for example in terms of their capacity to render the author-specific style into another language. A main conclusion in this study is that the re-translation is the more faithful of the two French versions of the “söderbergian” style/”le style söderbergien”.

<p>The present essay is a translation study on the two French versions of the Swedish novel <em>Doktor Glas</em>, by Hjalmar Söderberg. As one among relatively few Swedish novels of its time, <em>Doktor Glas</em> has been translated and re-translated.</p><p>The main purpose of this study is to identify and explain differences between the two French versions of <em>Doktor Glas</em>, concerning the ways the literary style of the Swedish author has been translated. By focusing on the methods of translation (<em>transitions,</em> <em>omissions and the use of footnotes</em>) used by the different translators, I examine to what extent the later ones have been successful in rendering what I call the “söderbergian” style/”le style söderbergien”. For this purpose, certain passages from the two French versions have been examined and compared to the corresponding passages within the original text.</p><p>The different translators have used different methods of translation, some of which are and have sometimes been considered as controversial, for example in terms of their capacity to render the author-specific style into another language. A main conclusion in this study is that the re-translation is the more faithful of the two French versions of the “söderbergian” style/”le style söderbergien”.</p>

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1983. / Dutch and German, with summary in German. "Ferruccio Busoni: Doktor Faust"; p. 243-261. "Stellingen": 2 p. laid in. Includes bibliographical references (p. 236-241).

This study investigates the process of creation in Boris Pasternak's Doktor Îivago (1957), both as depicted in and as realized by the novel. Statements on art, on literature in general and on specific texts are found to have a bearing on the novel itself, thus providing clues to its own poetics and philosophy of art. Ch. 1 examines the protagonist's understanding of art as dopisyvanie, or 'continuational writing.' This notion is applied to the relationship between Doktor Îivago and the Book of Revelation. One text appears to proceed from another as a continuation involving creative distortions. Such a manner of writing creates a literary continuum corresponding to the sensation of wholeness inherent in Pasternak. Ch. 2 examines the main hero's own creative activity, viewed as a process of articulation stretching throughout the novel. The analysis shows that writing is persistently modeled as painting: the semantics of the Russian word for painting, Ïivopis' ('life-writ'), is in various ways exploited narratively in the work. Ch. 3 provides a case study of the novel's 'continuation' of another literary work: Dostoevskij's The Brothers Karamazov. Convergences on the level of character description and plot form a background to thematic lines of pertinence to both novels: the protagonists' articulation of a mute word as an "answer to death," the notion of immortality as "life in others," the memory theme conveyed by the image of the slanting rays of the setting sun. Ch. 4 shows how the biological notion of mimicry connects with the implicit aesthetic discussion in Doktor Îivago. Mimicry appears as an image of the essence and existential mode of art, comprising some of the features analyzed in the previous chapters: the novel's relationship with other texts, the relationship between its poetry and prose sections and the question of its genre. Finally it is suggested that the forest serves as a stage for the demonstration of constitutive features of the novel's poetics and philosophy of art.

It is the intent of this thesis to shed a new investigative light upon a musician whose importance as a creative personality and aesthetician has been sorely underestimated or at least unappreciated by fellow musicians and audiences of his own and succeeding generations, a musician who formulated a new musical aesthetic which involved the utilization of compositional techniques diametrically opposed to those which had held dominant influence over the musical world for more than half a century, a musician who attempted to fuse the Italian sense of form and clarity with Teutonic profundity, complexity, and symbolism. This musician was Ferruccio Busoni. This thesis will concentrate on the history of the Faust legend and Busoni's final work, his opera Doktor Faust (c. 1924), the creative problems opera imposed upon Busoni, and his attempt to solve them vis-a-vis his own personal aesthetic.

Hjalmar Söderberg är en svensk författare vars verk i allra högsta grad lever kvar i våra dagar, vilket visar sig i de mångtaliga omtolkningar på hans romaner som uppkommit under 2000-talet. Med detta arbete vill jag dels analysera Hjalmar Söderbergs mest uppmärksammande roman Doktor Glas (1905), dels utveckla en didaktisering av de sentida pastischer som sprungit ur verket och belysa pastischernas postmoderna tendenser. Mitt syfte är också att undersöka hur dagens gymnasielärare ser på användandet av Hjalmar Söderbergs texter i sin undervisning. I arbetet intervjuar jag sex yrkesverksamma svensklärare som pekar på olika förtjänster med att använda sig av Söderbergs texter i elevsammanhang, däribland språket, stockholmsskildringen, de etiska och moraliska frågeställningarna som tas upp i texterna samt Söderbergs texter som förmedlare av ett svenskt kulturarv. Därutöver har jag själv gått ut i skolan och provat min didaktisering av de sentida omtolkningarna av Söderbergs Doktor Glas med en elevgrupp. Eleverna har sedermera fått besvara en skriftlig uppgift om pastischerna samt en utvärderande enkät om hur de upplevde mitt lektionsmoment. Utifrån detta diskuterar jag hur och varför Söderbergs texter kan ha en plats i skolundervisningen samt vilka förtjänster det finns med att undervisa om postmodernistisk litteratur i skolan. Resultatet från lärarintervjuerna och elevenkäterna för mitt resonemang in på hur vissa elever kan ha svårigheter att förstå äldre texter och forna tiders moralsyn, men också nyttan av att utmana sina egna perspektiv och sin egen tids tankesätt. Med min ansats om en postmodern litteraturdidaktik i åtanke diskuterar jag undervisningsformens problem, men också dess möjligheter: att utveckla en historisk förståelse för litteratur och att klargöra villkoren för konstnärligt skapande, vilket i förlängningen kan gagna den egna kreativiteten.

In recent years, Hjalmar Söderberg’s novel Doktor Glas (1905) has been conceived as more complex compared to its contemporary interpretations, and has been associated with many different ideas. The novel stands the test of time and forces readers to reflect on difficult issues. However, only sporadic attention has been paid to the connection between Doktor Glas and tragedy, hidden in the form of direct references or allusions to Greek antiquity and occasional reminiscences of Greek tragedy.    Tragedy is a branch of drama and for centuries Aristotle’s Poetics offered the only definition of tragedy available. Nevertheless, renowned philosophers and thinkers have offered alternative definitions of tragedy that describe aspects of tragedy not adressed by Aristotle; the list of tragic requirements seems to change and vary through the ages and by extension the term may be applied to ”a conception of the tragic”.     This thesis explores the experience of tragedy and the tragic in Doktor Glas. That will be accomplished with four idea analyses of the novel, each one from a different ”tragic” point of view. In other words, through dialogue between the novel and the tragic conception as conceived by Georg Wilhelm Friedrich Hegel, Arthur Schopenhauer, Friedrich Wilhelm Nietzsche and Albert Camus in order to embody in the novel the ”image” of the tragic as created by each of the above-mentioned important philosophers and thinkers, with focus directed towards the old question of the aristotelian term katharsis. One of the main results of the present study is that from a ”tragic” point of view, Doktor Glas is remarkably modern.    The author aims to perform a divergent, still creative approach to the ambiguous Doktor Glas according to her background and previous education in the anthropocentic discipline of studies in Classical Philology.