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   <subfield code="a">Inversion (in) der Zeit: Sterben als Kaleidoskop des Lebens in Tom Stoppards The Invention of Love</subfield>
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   <subfield code="a">This essay explores Tom Stoppard's most recent and daringly complex stage play, The Invention of Love, by first placing it within the epistemic dimensions displayed in the overall context of his dramatic work. The focus of interest then shifts to discussing its central topics of identity, (homosexual) love and the history of love poetry, centred around and represented by the poet and scholar A. E. Housman's kaleidoscopic retrospectives and dream-like (re)visions of the past. The dying main character's memories and other flashbacks, ‘historical' and/or ‘invented', disclose a deeply divided self. The question of biography in the play is shown to be foregrounded against an intricately woven intertextual background informing the aspect of a ‘cultural memory'. The concept of ‘inversion' in this paper functions as the interpretative key to understanding the dynamic interplay between content and form, exposing the play's subtle aesthetic strategies of iconically representing this central aspect on all levels of dramatic representation. (Poetic) Imagination eventually is seen to emerge as the medium proper for reconciling the tantalising forces of socially constructed divisions and individually contrived dichotomies, creating a truth deeper than biography, science or philology can ever claim to achieve.</subfield>
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