Advanced

Moderskonflikten i Lars Noréns åttiotalsdramatik

Apelkvist, Björn LU (2004)
Abstract (Swedish)
Popular Abstract in Swedish

Avhandlingen presenterar ett närstudium av fjorton centrala pjäser skrivna av den svenske författaren Lars Norén (1944-) under perioden 1979-90. I centrum ställs frågan om den ouppklarade relationen till modern, i första hand hos de vuxna, vanligtvis redan in i medelåldern hunna barn som gestaltas i dessa pjäser. I den krisdrabbade intimsfär som Noréns huvudsakligen skildrar i sin åttiotalsdramatik, framträder en problematiskt tillspetsad modersdominans som ett centralt problem. Vad som framstår som ett kvävande modersförtryck och dess destruktiva konsekvenser och villkor orsakar en påtaglig och återkommande konflikt i dessa pjäser. Den destruktivt laddade känslomässiga laddningen i relationen... (More)
Popular Abstract in Swedish

Avhandlingen presenterar ett närstudium av fjorton centrala pjäser skrivna av den svenske författaren Lars Norén (1944-) under perioden 1979-90. I centrum ställs frågan om den ouppklarade relationen till modern, i första hand hos de vuxna, vanligtvis redan in i medelåldern hunna barn som gestaltas i dessa pjäser. I den krisdrabbade intimsfär som Noréns huvudsakligen skildrar i sin åttiotalsdramatik, framträder en problematiskt tillspetsad modersdominans som ett centralt problem. Vad som framstår som ett kvävande modersförtryck och dess destruktiva konsekvenser och villkor orsakar en påtaglig och återkommande konflikt i dessa pjäser. Den destruktivt laddade känslomässiga laddningen i relationen till modersgestalterna analyseras på detta sätt såsom en primär psykologisk svårighet eller barriär, som gestaltas på olika sätt och ur olika perspektiv och ytterst visar sig beröra alla de karaktärer Norén skildrar. Noréns dramatexter studeras var och en för sig, med en huvudsaklig inriktning på det tematiska innehållet och utan hänsynstagande till specifika uppsättningar av pjäserna.



Instruktiva synpunkter av den amerikanske existenspsykologen Rollo May (1909-94) presenteras som en grundläggande teoretisk fond för undersökningen. Inte minst Mays teori om ett typiskt sk. Oresteskomplex i familjesituationer med dominerande mödrar, diskuterad i hans bok Man´s Search for Himself från 1953, åberopas som en tematiskt illustrativ bakgrund för pjäsanalyserna. En viktig starpunkt är också en argumenterande översikt av tidigare forskning om Norén. Bl.a. tendensen hos tidigare forskare att reducera betydelsen av modersgestalternas centrala funktion, samt av den vardagsrealistiska grundimpulsen i många av Noréns åttiotalsdramer, tas här upp till kritisk omprövning.



Orestes (1979) framträder som en prototyp för den familjekris Norén gestaltar i sina pjäser från det tidiga åttiotalet. Under denna period visar sig den destruktiva, om än i hög grad förtäckta, modersmakten på ett i grunden likartat sätt i Underjordens leende (1981), och i den berömda sk. restaurangtrilogin bestående av Natten är dagens mor (1982), Kaos är granne med Gud (1982) och Stillheten (1984). Mer indirekt skildras problematiken i parrelationstrilogin som konstitueras av Demoner (1982), Vilstolen (1982) och Nattvarden (1983). Här står inpräglingen eller den internaliserade föreställningen om hotfulla, allhärskande mödrar i centrum i tre liknande dramatiska tappningar.



Den övergripande bilden av familjeband som kännetecknas av moderlig närvaro och faderlig frånvaro utforskas vidare i Noréns sena åttiotalspjäser, i en utveckling som i stigande grad också kastar ljus också över de tidigare mer gåtfullt gestaltade modersfigurerna. Från den brett upplagda återföreningspjäsen Hebriana (1987), och genom de klassiskt formbundna borgerliga kvartetterna som inkluderar Höst och vinter (1987) och Bobby Fischer bor i Pasadena (1988), med deras återkommande fokus på relationerna mellan ett åldrande föräldrapar och två medelålders barn, förblir moderskonflikten central. Till slut ställs moderns eget perspektiv definitivt i centrum i Den sista kvartetten (1989). Samtidigt utarbetas och diversifieras ytterligare den prekära uppgörelsen med en destruktiv psykologisk inprägling härstammande från modersrelationen, och blir kanske som mest explicit uttryckt i den åldrande Eugene O´Neills slutmonolog i Och ge oss skuggorna (1990).



Rörelsen mot en direkt konfrontation med den undertryckta och outredda moderskonflikten är avhandlingens centrala ämne, och resultatet av undersökningen framstår huvudsakligen som en fördjupad insikt i och preciserad kunskap om denna viktiga smärtpunkt i Noréns åttiotalsdramatik. I ett avslutande kapitel diskuteras emellertid även den motsatta rörelse som narcissistiska tendenser stundtals tecknar hos Norén. Som ett försvarsbeteende med viktiga kopplingar till den problematiska modersrelationen studeras narcissismens starka närvaro i pjäserna Demoner, Nattvarden och Hebriana. (Less)
Abstract
This dissertation presents a close study of fourteen central dramas written by the Swedish author Lars Norén (1944-) between 1979 and 1990. The question at issue is the unfinished condition of the relation to the mother, mainly among the grown-up, in most cases middle-aged children portrayed in the plays. In the crisis of intimacy, Norén's major thematic motif in his dramatic works of the 1980s ("åttiotalsdramatiken"), a problematically intensified mother domination emerges as a central problem. What appears to be a suffocating maternal oppression and its destructive conditions and consequences cause a tangible and recurring psychological conflict in these plays. The destructively overloaded emotional tension in the relation to the mother... (More)
This dissertation presents a close study of fourteen central dramas written by the Swedish author Lars Norén (1944-) between 1979 and 1990. The question at issue is the unfinished condition of the relation to the mother, mainly among the grown-up, in most cases middle-aged children portrayed in the plays. In the crisis of intimacy, Norén's major thematic motif in his dramatic works of the 1980s ("åttiotalsdramatiken"), a problematically intensified mother domination emerges as a central problem. What appears to be a suffocating maternal oppression and its destructive conditions and consequences cause a tangible and recurring psychological conflict in these plays. The destructively overloaded emotional tension in the relation to the mother is thus systematically analyzed as a primary psychological obstacle or difficulty. Brought to form in various ways and from different perspectives, it is a problematic that ultimately pertains to all the characters. Norén´s texts are studied separately, with a main focus on their thematic content and without any significant references to specific theatrical productions.



Informative viewpoints by the American existential psychologist Rollo May (1909-94) are presented as a basic theoretical framework for the study. May´s theory of a typically "Orestian" conflict in family situations with dominating mothers, presented in his book Man´s Search for Himself in 1953, is - among other relevant perspectives - referred to as a thematically explanatory background for the actual studies carried out in the thesis. An important starting point is also a critical overview of previous research on Norén. Among other things attention is paid to the caution displayed regarding the central function of the mother, as well as to the reductive treatment of the essential element of everyday realism at the heart of Norén´s plays. Both of these appear to be predominant tendencies in significant earlier studies of Norén.



Orestes (1979) emerges as a prototype for the typical Norénian family crisis, as shown by his plays of the early 1980s. During this period the destructive, if in many ways veiled, power of the mother comes to the fore in similar ways in Underjordens leende (1981), and in the famous so called ´restaurant trilogy´ including Natten är dagens mor (1982), Kaos är granne med Gud (1982) and Stillheten (1984). This motif appears more indirectly in the ´couple relation trilogy´ constituted by Demoner (1982),



Vilstolen (1982) and Nattvarden (1983). Here conflicts caused by imprintings or internalized notions of hostile, all-powerful mothers are at the very core in three contiguous dramatical settings.



The overall image of family ties defined by maternal domination and fatherly absence is explored further in Norén´s plays of the late 1980s. This unfolds in a process increasingly shedding light also on the formerly more enigmatic image of the mother figures themselves. In the summer reunion play Hebriana (1987), and onwards through the classical formalism of the so called bourgeois quartets - including Höst och vinter (1987) and Bobby Fischer bor i Pasadena (1988) - with their recurring focus on an aging parent couple and two grown up children interrelating, the mother conflict remains central. Finally the perspective of the mother herself is definitively emphasized in Den sista kvartetten (1989). At the same time, the precarious struggle against the destructive psychological impact stemming from the mother relation is further elaborated and diversified. The latter element becomes perhaps most outspoken and externally dramatized in Eugene O´Neills finishing monologue, in Norén´s depiction of the aging playwright in Och ge oss skuggorna, completed in 1990.



The movement towards a direct confrontation of the repressed mother conflict is the central theme of the thesis, the final outcome mainly being a deepened insight into and a specified knowledge of this central dilemma. However, attention is paid also to the reverse movement represented by Narcissism as a psychological defence strategy in Norén´s dramatic works of the 1980s. As discussed in a concluding chapter, Narcissistic tendencies appear to be strongly present in Demoner, Nattvarden and Hebriana, in a manner revealing significant connections to the problematic mother relations described in the plays. (Less)
Please use this url to cite or link to this publication:
author
supervisor
opponent
  • Docent Schönström, Rikard, Köpenhamns universitet
organization
publishing date
type
Thesis
publication status
published
subject
keywords
literary theory, literature criticism, General and comparative literature, Teatervetenskap, Dramatic art, Humaniora, Humanities, Narcissism, Existential Psychology, Rollo May, Family Crisis, Maternal Domination, Swedish Drama, Modern Drama, Allmän och jämförande litteratur, litteraturkritik, litteraturteori, Scandinavian languages and literature, Nordiska språk (språk och litteratur)
pages
256 pages
publisher
Gidlunds förlag
defense location
Lunds universitet Edens hörsal (Hus H) Paradisgatan 5 SE 223 50 Lund
defense date
2004-06-04 10:15
ISBN
91-7844-675-9
language
Swedish
LU publication?
yes
id
98f7cff0-31f4-4017-870d-83676ffd1299 (old id 25109)
date added to LUP
2007-05-31 15:29:28
date last changed
2016-09-19 08:45:13
@phdthesis{98f7cff0-31f4-4017-870d-83676ffd1299,
  abstract     = {This dissertation presents a close study of fourteen central dramas written by the Swedish author Lars Norén (1944-) between 1979 and 1990. The question at issue is the unfinished condition of the relation to the mother, mainly among the grown-up, in most cases middle-aged children portrayed in the plays. In the crisis of intimacy, Norén's major thematic motif in his dramatic works of the 1980s ("åttiotalsdramatiken"), a problematically intensified mother domination emerges as a central problem. What appears to be a suffocating maternal oppression and its destructive conditions and consequences cause a tangible and recurring psychological conflict in these plays. The destructively overloaded emotional tension in the relation to the mother is thus systematically analyzed as a primary psychological obstacle or difficulty. Brought to form in various ways and from different perspectives, it is a problematic that ultimately pertains to all the characters. Norén´s texts are studied separately, with a main focus on their thematic content and without any significant references to specific theatrical productions.<br/><br>
<br/><br>
Informative viewpoints by the American existential psychologist Rollo May (1909-94) are presented as a basic theoretical framework for the study. May´s theory of a typically "Orestian" conflict in family situations with dominating mothers, presented in his book Man´s Search for Himself in 1953, is - among other relevant perspectives - referred to as a thematically explanatory background for the actual studies carried out in the thesis. An important starting point is also a critical overview of previous research on Norén. Among other things attention is paid to the caution displayed regarding the central function of the mother, as well as to the reductive treatment of the essential element of everyday realism at the heart of Norén´s plays. Both of these appear to be predominant tendencies in significant earlier studies of Norén.<br/><br>
<br/><br>
Orestes (1979) emerges as a prototype for the typical Norénian family crisis, as shown by his plays of the early 1980s. During this period the destructive, if in many ways veiled, power of the mother comes to the fore in similar ways in Underjordens leende (1981), and in the famous so called ´restaurant trilogy´ including Natten är dagens mor (1982), Kaos är granne med Gud (1982) and Stillheten (1984). This motif appears more indirectly in the ´couple relation trilogy´ constituted by Demoner (1982),<br/><br>
<br/><br>
Vilstolen (1982) and Nattvarden (1983). Here conflicts caused by imprintings or internalized notions of hostile, all-powerful mothers are at the very core in three contiguous dramatical settings.<br/><br>
<br/><br>
The overall image of family ties defined by maternal domination and fatherly absence is explored further in Norén´s plays of the late 1980s. This unfolds in a process increasingly shedding light also on the formerly more enigmatic image of the mother figures themselves. In the summer reunion play Hebriana (1987), and onwards through the classical formalism of the so called bourgeois quartets - including Höst och vinter (1987) and Bobby Fischer bor i Pasadena (1988) - with their recurring focus on an aging parent couple and two grown up children interrelating, the mother conflict remains central. Finally the perspective of the mother herself is definitively emphasized in Den sista kvartetten (1989). At the same time, the precarious struggle against the destructive psychological impact stemming from the mother relation is further elaborated and diversified. The latter element becomes perhaps most outspoken and externally dramatized in Eugene O´Neills finishing monologue, in Norén´s depiction of the aging playwright in Och ge oss skuggorna, completed in 1990.<br/><br>
<br/><br>
The movement towards a direct confrontation of the repressed mother conflict is the central theme of the thesis, the final outcome mainly being a deepened insight into and a specified knowledge of this central dilemma. However, attention is paid also to the reverse movement represented by Narcissism as a psychological defence strategy in Norén´s dramatic works of the 1980s. As discussed in a concluding chapter, Narcissistic tendencies appear to be strongly present in Demoner, Nattvarden and Hebriana, in a manner revealing significant connections to the problematic mother relations described in the plays.},
  author       = {Apelkvist, Björn},
  isbn         = {91-7844-675-9},
  keyword      = {literary theory,literature criticism,General and comparative literature,Teatervetenskap,Dramatic art,Humaniora,Humanities,Narcissism,Existential Psychology,Rollo May,Family Crisis,Maternal Domination,Swedish Drama,Modern Drama,Allmän och jämförande litteratur,litteraturkritik,litteraturteori,Scandinavian languages and literature,Nordiska språk (språk och litteratur)},
  language     = {swe},
  pages        = {256},
  publisher    = {Gidlunds förlag},
  school       = {Lund University},
  title        = {Moderskonflikten i Lars Noréns åttiotalsdramatik},
  year         = {2004},
}