Strindberg's Representation of Anxiety in The Father: Between Naturalistic Determinism and Existential Indeterminism.
(Strindberg [41], 36) At the end of Act II, Laura succeeds in crushing the Captain, and in a last act of desperation, the Captain throws a lamp at Laura before he surrenders: he regresses to a helpless, childlike state; renounces his own manhood; pathologizes himself; and implores mercy for his life...
| Publicado en: | Scandinavian Studies Vol. 94; no. 3; pp. 261 - 281 |
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| Formato: | Artículo |
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University of Wisconsin Press
Fall2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=158385840&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 158385840 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00365637 SVT jtl: Scandinavian Studies issn: 00365637 maglogo: N pubinfo: dt: Fall2022 vid: 94 iid: 3 pid: 249 pub: University of Wisconsin Press artinfo: ui: 158385840 10.5406/21638195.94.3.01 ppf: 261 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 139KB tig: atl: Strindberg's Representation of Anxiety in The Father: Between Naturalistic Determinism and Existential Indeterminism. aug: au: Christensen, Markus Floris affil: Europa-Universität Flensburg su: Free will & determinism Anxiety Atheism Nature & nurture Psychological well-being sug: subj: Free will & determinism Anxiety Atheism Nature & nurture Psychological well-being ab: (Strindberg [41], 36) At the end of Act II, Laura succeeds in crushing the Captain, and in a last act of desperation, the Captain throws a lamp at Laura before he surrenders: he regresses to a helpless, childlike state; renounces his own manhood; pathologizes himself; and implores mercy for his life. (Strindberg [41], 37) From Laura pointing out the Captain's fatal mistake and her assertion of the eternal strife between the sexes, the deeper psychological causes of the Captain's anxiety may arguably be gleaned. The images seem to instigate profoundly symbolic motifs and highly subjective psychology.[5] The Cause of the Captain's Anxiety Act II arguably serves as a backdrop against which Strindberg's audience can better understand the Captain's mental condition. Strindberg uses mythopoeic imagery to illustrate the Captain's state of mind in a way that marks a shift from realism to the more symbolic and transgressive "indeterminism" as Strindberg addressed in the aforementioned letter to Axel Lundegård. I Fadren i (1887; I The Father i [1998]) has traditionally been considered one of Strindberg's naturalistic plays. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Scandinavian Studies is the property of University of Wisconsin Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Scandinavian Studies holder: University of Wisconsin Press dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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