After his years of exile in France, Strindberg displayed a renewed interest in theatre and demonstrated a genuine sympathy towards the Catholic religion  which he had come to know through fin de siècle French literature. In adopting an Catholicising writing, Strindberg assimilated these cultural borrowings, resemanticizing them in accordance with his personal past and social context. This paper takes as its starting point a hermeneutic reflection upon the value of cultural transfers, drawing on concepts provided by imagology and the notion of cultural transfers developed by Bourdieu and Espagne. Trough his practice of rewriting, Strindberg displays his adherence to several national cultural spaces. In this paper, I will shed light on Strindberg’s writing’s hybrid nature and its innovative strength.