This essay presents a new reading of Strindberg’s The Father in the light of developing lens technology during the late nineteenth century. By situating this play within the late-nineteenth-century material culture of microscopes and alongside Strindberg’s own writings about his encounters with microscopic experimentation, the essay exposes the play as darkly comedic, upending its traditional reading as a tragedy. Recasting the play in this light concomitantly allows for further awareness of its wholesale rejection of the notion that knowledge of objective truth is possible, with science or any other epistemological system. Contextualizing the scientific influences on Strindberg’s often very spiritual dramas, then, cyclically allows for even greater awareness of the contemporary scientific rhetoric—often vicious critiques of it—packaged into his dramatic cosmology, expanding the ways in which he must be understood as one of the first Modernist playwrights.

中文翻译：

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看事物：斯特林堡《父亲》细菌时代黎明时视觉主体性的困境

本文根据 19 世纪后期镜头技术的发展，对斯特林堡的《父亲》进行了新的解读。通过将这部剧置于 19 世纪后期显微镜的物质文化中，并与斯特林堡自己关于他与显微镜实验相遇的著作一起，这篇文章将这部剧揭露为黑色喜剧，颠覆了其作为悲剧的传统解读。在这种情况下重演这出戏，同时允许进一步意识到它对客观真理的知识是可能的概念的全面拒绝，科学或任何其他认识论系统。将科学对斯特林堡通常非常精神的戏剧的影响置于语境中，然后，