Moderatnestorn Carl Bildt surprised recently to comment on the formation of the government on the basis of cultural parameters. “I think that the whole thing begins to resemble a series in Netflix,” he wrote skadeglatt on Twitter on Monday's talmansrunda.
There are certainly those who would see such a reference as a typuttryck for the kulturfientliga the right. Press a flat-screen tv in the arms of the crown princess is at home in the couch and förkalkar the veins in front of the tv-series. Sums of money get someone else, preferably business, to take care.
Myself, I just want to protest. The protracted formation of the government is so clearly not at all a Netflixserie, but it is a classic drama – and now we face the last act.
aristotle's principles – where a paragraph consists of five acts with a turning point in the middle of it, which now takes place in the corridors of power, would the act be organised at the night of the election. It was then that all the parties were guilty of karaktärsfelet hubris by all proclaimed him-or herself to the winner of the election. In the second act förtätades plot device, in that the parliament voted down Stefan Löfven, was stepped up further in the third act when the Alliance broke up in the afterbirth of Ulf Kristerssons defeat in the statsministeromröstningen. And so the thrill and the turning point at the end of the third act when the S turns in the hose with L and C the face of the fourth act, increasingly panicky government negotiations.
There are of course some problems. As genrebestämningen. Is it a comedy, even a farce? There are some things that suggest it, förvecklingsfaktorn, for example. Every time it looked like that resolved for the government, Löfven has there been a new hated suitor in the entryway and pulled in time the intricacies of the new – by Jonas Sjöstedt.
Or is it a tragedy? This consists of complications, but with diametrically opposite consequences. It may not be immediately tragic in aristotelisk sense that the one of japan after the second fall, but probably had at least Antigone felt at home in Annie Lööf initial and obstinate resistance in the face of the light Kreon-like Stefan Löfven.
don't be surprised if the play's fifth act is not at all landing in an experience of catharsis, the purification that occurs after a severe crisis,
the crucial difference, no matter in which genre to place the drama: the chorus. In the classic drama had the choir – often consisting of citizens from all walks of life – a kommentatorisk function. It discussed the positions taken in the drama, and regarded, in common with the audience, both the event and its protagonists with both fear and compassion. But above all: it urged always to moderation and restraint.
In today's drama has the choir's stock of amatörkommentatorer – and now referred to the supposedly civil buzz of voices that thrive on social media – forged to its functional opposite, in particular if it involves humanism or compassion. Instead of ourselves: the total hysteria. Showering it does not have any of the parties, with grotesque an overstatement when talking about – quisling! – throws the högerskor. In the case that the even exist in the actual sense and not just a påverkansoperation, consisting of bots and trolls.
surprised if the play's fifth act – the Friday statsministeromröstning – not all lands in an experience of catharsis, the purification that occurs after a severe crisis. But instead inflicted on the many, long and complex acts of the fiddly collection of populists who seek its raison d'être, in that just scream blue murder in general. Complain whatsoever Elektra.