Katarina Båth

senior lecturer at Department of Literature

+4618-471 5789+4618-471 6186
018-471 6187
Visiting address:
Engelska parken, Thunbergsvägen 3 P

Postal address:
Box 632
751 26 UPPSALA

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FD, vikarierande lektor i litteraturvetenskap och på lärarutbildningen

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My courses


Work in Progress

Doctoral dissertation, defence planned to autumn 2016.

Shifting Ironies, Metamorphoses of the Self. On form and psychology of the romantic irony in the works of Atterbom, Schlegel and Tieck. (Prel. diss. title)

English abstract
Romantic irony is both nostalgic and ironic, it is a concept most often associated with Friedrich Schlegel, but also with other German romantics such as Jean Paul and KFW Solger. Schlegel's irony is more than just a rhetorical approach and literary figuration, it is rather the elusive, philosophical essence of romantic poetry - a paradox and dialectical movement that simultaneously both separates and unites opposites like fiction and reality, me and you, or man and God. Irony is also doubt, it carries the void after a God who is no longer present except indirectly, through poetry. But this void also becomes a creative freedom for the romantic poet to create and find his Self through art, and to regard the Self as artwork and creative process. Irony is both repetition and difference, it provides both isolation and freedom – and is masculinity as masque and charade, a play with a changing, metamorphosing Self. In the various expressions of romantic irony we therefore find notions of the Self that anticipates later, more modern and postmodern ways to understand and portray the subject. In my ongoing dissertation project I put Schlegel's irony in connection with swedish romanticist PDA Atterbom and Ludwig Tiecks literary satire to show this. Atterbom's meta-poetic fairytale dramas circles on the border between literature and life and is both tragic and comic. His works raises questions about the relationship between fantasy and reality. How is the subject an effect of its surroundings and what happens when the self turns into art and literary fiction? The thesis draws upon poststructuralist theory of romanticism, subjectivity and masculinity, as well as feminist psychoanalytic theory. It follows the movement of irony from satire, through tragedy into idyll.


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