Henrik Ibsen and Conspiracy Thinking: The Case of Peer Gynt

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Giuliano D’Amico
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引用次数: 0

Abstract

Generating countless websites, books, films, series, and podcasts, and encompassing nearly every major negative event that has taken place since the end of World War II, conspiracies have become a phenomenon that anyone as a citizen and thinking individual has had to cope with in the last few decades, arguably reaching a peak during the Trump presidency, with the rise of QAnon and various conspiracy theories about the current Covid-19 pandemic (Barkun 2017;Amarasingam and Argentino 2020;Mitchell et al. 2020;Uscinski et al. 2020). Not surprisingly, the rise of conspiracy theories has also coincided with an increasing scholarly interest, especially within psychology and the social sciences, although studies of conspiracies in literature and film have also grown in number during the last two decades. Just to mention two famous examples, the same Brown's Inferno (2013) draws upon the long-standing tradition of conspiracy theories related to Dante's Divine Comedy, and the works of William Shakespeare have been subjected to a long series of conspiratorial readings, arguably reaching a peak-at least in a Norwegian context-with Erlend Loe's and Petter Amundsen's mashup of theories about Shakespeare's persona and the coded messages that the English dramatist allegedly left in his texts (Loe and Amundsen 2006). Drawing upon Gilles Deleuze and Félix Guattari's rejection of a fixed identity in late modern society and cultural production, she makes a clear argument against two main avenues of scholarly interpretation of the play, a Hegelian and Cartesian one: "I argue that Peer Gynt should be understood as expressing a fundamentally non-transcendent world-view" (Rees 2014, 13, 19). [...]according to Rees, Peer Gynt's status as a "national epos" is highly paradoxical, and the play hardly seems to contain a clear-cut "message" or to allow a straightforward interpretation, be it about cultural identity or otherwise.
易卜生与阴谋思想:以培尔·金特为例
阴谋论催生了无数的网站、书籍、电影、电视剧和播客,几乎涵盖了二战结束以来发生的每一个重大负面事件。在过去的几十年里,阴谋论已经成为一种现象,任何一个公民和有思想的人都必须应对,可以说在特朗普担任总统期间达到了顶峰,随着QAnon和关于当前Covid-19大流行的各种阴谋论的兴起(Barkun 2017;Amarasingam和Argentino 2020;Mitchell等人2020;Uscinski等人2020)。毫不奇怪,阴谋论的兴起也与学术兴趣的增加相吻合,尤其是在心理学和社会科学领域,尽管在过去的二十年里,文学和电影中的阴谋研究数量也有所增加。举两个著名的例子,布朗的《地狱》(2013)借鉴了与但丁的《神曲》有关的阴谋论的悠久传统,威廉·莎士比亚的作品也受到了一系列阴谋论的影响,Erlend Loe和Petter Amundsen将莎士比亚的人格和这位英国剧作家据称在他的文本中留下的密码信息的理论混在一起,可以说达到了一个顶峰——至少在挪威的语境中是这样。借鉴吉尔·德勒兹(Gilles Deleuze)和f lix Guattari对晚期现代社会和文化生产中固定身份的拒绝,她明确反对对戏剧的两种主要学术解释途径,即黑格尔主义和笛卡尔主义:“我认为,培尔·金特应该被理解为表达了一种根本上非先验的世界观”(Rees 2014, 13,19)。[…里斯认为,《培尔·金特》作为一部“民族史诗”的地位是高度矛盾的,这部剧似乎几乎不包含一个明确的“信息”,也不允许一个直截了当地的解释,无论是关于文化认同还是其他方面。
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来源期刊
SCANDINAVIAN STUDIES
SCANDINAVIAN STUDIES HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.30
自引率
25.00%
发文量
20
期刊介绍: Thank you for visiting the internet homepages of the Department of Scandinavian Studies at the University of Washington. The Department of Scandinavian Studies was founded in 1909 by a special act of the Washington State Legislature. In the 99 years of its existence, the Department has grown from a one-person program to a comprehensive Scandinavian Studies department with a faculty fully engaged in leading-edge scholarship, award-winning teaching and dedicated university and community service.
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