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  • 1.
    Löfgren, Ingeborg
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Att avtäcka dolda principer (och dolt nonsens): Torsten Pettersson om litteraturtolkningens teori och praktik2015In: Någonstädes mellan sol och söder, mellan nord och natt: interdisciplinära studier tillägnade Torsten Pettersson / [ed] Jenny Björklund, Ann-Sofie Lönngren, Mattias Pirholt, Magnus Ullén, Maria Wennerström Whorne, Möklinta: Gidlunds förlag, 2015, p. 174-191Chapter in book (Other academic)
  • 2.
    Löfgren, Ingeborg
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Gyllenstens radikala metafiktion2007In: Samlaren: tidskrift för svensk litteraturvetenskaplig forskning, ISSN 0348-6133, E-ISSN 2002-3871, Vol. 128, p. 176-232Article in journal (Refereed)
    Abstract [en]

    Ingeborg Löfgren, Gyllenstens radikala metafiktion. (The Radical Metafiction of Gyllensten.)

    Lars Gyllensten (1921–2006) is often purported to be a role-playing author who hides behind his fictitious characters and story-tellers, never to be caught presenting his own personal views in his literary writings. Yet Gyllensten-scholars usually put great effort into finding out just how Gyllensten is to be understood in his dialectical authorship, what he wants to express with his fictitious works, and the particular roles he uses. In this article, I want to claim that there is a severe conflict within the role-concept itself: on the one hand, it is seen as a tool to separate the empirical Gyllensten from the text’s story-teller or “author”, and, on the other, it is also seen as a method used by Gyllensten to deal with his own (personal) existential, moral and epistemological concerns. In my view, it is also due to the scholars faithful application and use of Gyllensten’s theoretical vocabulary (in particular, his self­contradictory role-concept), presented in his generous literary comments and remarks, that some of his most interesting texts have remained unacknowledged and unexplored – his radical metafiction.

    This article is concerned with three tasks, carried out respectively: a theoretical examina­tion of the concepts of fiction and metafiction, a critical survey of previous author-inten­tionalist Gyllensten-research, and the demonstration and analysis of five of Gyllensten’s radically metafictional texts. Among the texts I deal with in the present study – ”Not” from Moderna myter (1949), ”Not” from Det blå skeppet (1950), ”On dit” and ”Au revoir” from Desperados (1962), ”Intervju med pseudonymen ’Sören Kierkegaard’”(1963) from Nihilistiskt credo (1964) and finally Diarium spirituale. Roman om en röst (1968) – four have previously been taken as genuine commentaries by Gyllensten, and used as such. And despite the fact that the fifth, Diarium spirituale, has been to some extent recognized as a “meta-novel”, this has not prevented it from being used as an exegetical commentary as well.

    This shows how difficult, not to say impossible, it is to detect the special and complex character of radical metafiction in the works of Lars Gyllensten, while staying within the framework of the role-concept. Radical metafiction consists of mutually contradictory fea­tures, the fictional and the authentic, which mix in such a way that the complete text neither can be identified as truly fictional nor as really authentic. To the author-intentionalist in search of “keys to interpretation”, these texts will always temptingly resemble pure commen­tary – which they are not. This will be evident when we see how the radical metafiction of Lars Gyllensten actually resists the author-intentionalist readings.

  • 3.
    Löfgren, Ingeborg
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Interpretive Skepticism: Stanley Cavell, New Criticism, and Literary Interpretation2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation explores and analyzes interpretive skepticism in literary theory. It argues that traditional interpretive theories and debates often harbor unacknowledged forms of skeptical thinking and arguments. As these forms of skepticism are seldom recognized as skepticism, the problem tends to remain hidden and unresolved. The dissertation further argues that interpretive skepticism is (i) the result of a philosophical confusion, and (ii) practically harmful when used in order to regulate interpretive practice. Accordingly, a central purpose of the dissertation is to offer an analysis and taxonomy of what interpretive skepticism is. Only once we are in a position to understand and recognize it in its many guises will we be able to criticize and challenge it.

    The first part of the dissertation thus aims at identifying a specific structure of skeptical reasoning within the theory of literary interpretation.  In articulating this taxonomy and analysis, the study builds on the American philosopher Stanley Cavell’s reinterpretation of epistemological skepticism in terms of tragedy, avoidance and repudiation of grammatical criteria. The second part of the study explores, in greater detail, interpretive skepticism within New Criticism. It centers on analyses of two classics within interpretive theory: “The Intentional Fallacy” by Monroe C. Beardsley (and W.K. Wimsatt) and “The Heresy of Paraphrase” by Cleanth Brooks. The study argues that Beardsley becomes both a so-called “skeptical twin” about literary interpretation and a straightforward literary other-minds skeptic with regard to authorial intentions. Brooks, for his part, becomes a straightforward skeptic about poetic interpretation and a “skeptical twin” about poetic meaning. Both theorists are investigated in comparison with Cavell’s explorations of the themes of intention, overinterpretation, fraudulence, modernism, and aesthetic judgment in art, literature and criticism. Despite these skeptical findings, the study also argues that there are important similarities between Cavell’s non-skeptical approach to literature and criticism, and New Critical “close reading.”

    The dissertation concludes with a chapter that leaves the confines of the New Critical idiom to explore interpretive skepticism within the tradition of so-called “hermeneutics of suspicion.” Through readings of Susan Sontag, Eve Kosofsky Sedgwick, and Cora Diamond, it argues that suspicious or paranoid hermeneutics is not skeptical in itself but can become so through the skeptical temptations of dogmatism, authoritarianism, and fraudulence. 

  • 4.
    Löfgren, Ingeborg
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Litteraturen lika farlig som livet självt2009In: Svenska Dagbladet, ISSN 1101-2412, no 19/1, p. 1-Article in journal (Other (popular science, discussion, etc.))
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