In this dissertation August Strindberg's musical imagery is used as study object. To communicate these linguistic objects it is necessary to adopt a conceptual view on music e.g. also comprehend the musical experience and its effects.
A reflective attitude to music demands knowledge and habitual listening. Strindberg was an active listener but also selective according to his preference for musical highlights of the musical works. His listening was creative by interpretation of these highlights for literary applications; the music was the tool, the experiences were the material.
Placed in its context the musical imagery shows the importance of music for expressing the difficulties of art creation and its relations to society. It also shows Strindberg's view on nature as accessible for artistic and literary use only by knowledge and then domestication and personification. In contrast to his detested writings against feminism, his relations to women in the musical imagery contains no negative or misogynist expressions.
It is concluded that music was of vital importance for Strindberg, not only for listening but for the creation of his art as a writer. The musical imagery represented a freedom in fiction which made him confident in society without demands from reality.
Stockholm: Stockholm University, 2000. , 238 p.