Ibsen Studies最新文献_第10页

Ibsen’s Firebrand: The Dead Child and Theodicy in Brand 易卜生的《火焰》:《死去的孩子》与《火焰》中的神正论

Ibsen Studies Pub Date : 2015-01-02 DOI: 10.1080/15021866.2015.1087716

Thor Holt

引用次数: 0

Sublimation leads to sublime drama. Or, if you don’t have sex you may become a great writer 升华带来崇高的戏剧。或者，如果你不做爱，你可能会成为一个伟大的作家

Ibsen Studies Pub Date : 2015-01-02 DOI: 10.1080/15021866.2015.1099871

H. Rønning

{"title":"Sublimation leads to sublime drama. Or, if you don’t have sex you may become a great writer","authors":"H. Rønning","doi":"10.1080/15021866.2015.1099871","DOIUrl":"https://doi.org/10.1080/15021866.2015.1099871","url":null,"abstract":"A Critique of Jørgen Haugan’s Dommedag og djevlepakt. Henrik Ibsens forfatterskap – fullt og helt [Doomsday and Devil's Pact. Henrik Ibsen's work Fully and Wholly.] Jørgen Haugan’s magisterial and long (607 pages) new book on Ibsen (Haugan 2014) sums up his lifelong engagement with the playwright. Over the years, Haugan has written extensively on Ibsen in articles but not least in his two previous books Henrik Ibsens metode (1977) and Diktersfinxen. En studie i Ibsen og Ibsenforskningen [Doomsday and Devils Pact. Henrik Ibsen’s Work – not in Parts and Pieces] (1982). Both of these serve as a background to the present study. Haugan elaborates upon arguments first put forward in these earlier works in the new book, which he characterises as his last contribution to the field. I have always held a certain respect and fascination for Jørgen Haugan. He has been an odd man out in the Ibsen field, particularly in a Norwegian context. His close relationship to the milieu around the charismatic professor Aage Henriksen (1938–2011) at the University of Copenhagen taught him a different approach to Ibsen and also to view literature and literary scholarship from other perspectives than those that have been prominent in Norway. In addition, I have liked his often contrarian and self-assured attitude to what has been the accepted way of looking at the great works of Norwegian literature, not least demonstrated by his book on Knut Hamsun from 2004 – Solgudens fall. This being said, I was also during my reading of Dommedag og djevlepakt frequently irritated and in vehement disagreement both by his analyses and his methodological and theoretical approach, despite often finding many aspects of his concrete examinations of the dramas insightful. In the programmatic brief foreword to the book, Haugan states some principles that guides his reading. The first is that he will","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1099871","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Advent of Noo-politics in Ibsen’s Problem Plays 易卜生问题剧中“非政治”的出现

Ibsen Studies Pub Date : 2015-01-02 DOI: 10.1080/15021866.2015.1087714

Anders Skare Malvik

{"title":"The Advent of Noo-politics in Ibsen’s Problem Plays","authors":"Anders Skare Malvik","doi":"10.1080/15021866.2015.1087714","DOIUrl":"https://doi.org/10.1080/15021866.2015.1087714","url":null,"abstract":"Literary history is often seen in the light of the history of ideas, and rarely as corresponding to the media technologies that transmit these ideas. It would, however, be difficult to explain the international success of the Norwegian “Modern Breakthrough authors” without taking into account the transnational mediation of the political, social, philosophical, and esthetic ideas of the period. “The Modern Breakthrough” in Norwegian literature is not just a response to Georg Brandes’ 1871 call to arms. It is also an esthetic response to a media technological revolution that radically changed Norwegian society in the second half of the nineteenth century. As media historians Henrik G. Bastiansen and Hans Fredrik Dahl have emphasized, the years of Ibsen’s literary production delineates an epoch of faster and more powerful media developments than ever before in history. Catilina (1950) was published four years before Norway got its first railroad. When We Dead Awaken (1899) was written in Arbien’s Street in Kristiana, while they were screening cinema shows down the street (Bastiansen and Dahl 2003a). The railroad, telegraph, photography, film, phonograph, and telephone all surface in Norway within this short period of less than 50 years. These technologies dramatically changed the scales and patterns of human interaction during Ibsen’s time, and it would be naïve to think that the playwright did not in some way chart their societal impact. But how do we read Ibsen from a media perspective? The aim of this article is to show how Ibsen’s problem plays respond to the rise of the newspaper industry in late nineteenth","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1087714","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

The Master Builder’s Tragic Quotidian 建筑大师的悲剧日常

Ibsen Studies Pub Date : 2015-01-02 DOI: 10.1080/15021866.2015.1087715

O. Gunn

{"title":"The Master Builder’s Tragic Quotidian","authors":"O. Gunn","doi":"10.1080/15021866.2015.1087715","DOIUrl":"https://doi.org/10.1080/15021866.2015.1087715","url":null,"abstract":"Symbolist playwright Maurice Maeterlinck’s l’Intruse (1890, The Intruder) and Henrik Ibsen’s Bygmester Solness were first staged together at Théâtre de l’Œuvre on 13 April, 1894. The day before this performance, Maeterlinck’s “A Propos de Solness le Constructeur” (Concerning The Master Builder), was published in le Figaro. In 1896, it was revised and included in le Trésor des Humbles as “le Tragique Quotidien.” Materlinck used his revision to expand on the observation that “Solness est un drame à peu près sans action” (Solness is a drama almost without action), thereby creating a kind of manifesto for modern, “static” theater (A propos de Solness). The Master Builder’s innovative and static qualities were immediately apparent to actors and directors, who struggled to find effective ways of staging Ibsen. At Théâtre de l’Œuvre, Aurélien Lugné-Poe dealt with Ibsen’s innovation by turning to Maeterlinck’s metaphysical interpretation of the play, emphasizing the tacit presence of “occult forces” and Solness’s “personal magnetism” (Deak 1993, 205). The Master Builder – with its tower, dead babies and mourned dolls, its trolls and strange helpers, and its castle in the air “med grundmur under” (with foundations underneath)” – has often been treated as a (lower case) symbolist drama (Ibsen 1892, 89). Nonetheless, Maeterlinck’s perception of a strong affinity between The Master Builder and his own understanding of the ideal modern theater strikes some critics as odd or wrong – especially if they understand Ibsen as a preeminent realist and realism as the precursor to or opponent of Symbolism. One critic particularly averse to the Symbolist interpretation of Ibsen is Joan Templeton, who claims naturalist director André Antoine as the better and more correct director for staging","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1087715","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Hvordan lese Ibsen? Samtalen om hans dramatikk 1879–2015 易卜生是怎么读书的？关于他的戏剧的对话，1879-2015年。

Ibsen Studies Pub Date : 2015-01-02 DOI: 10.1080/15021866.2015.1099862

Ellen Rees

{"title":"Hvordan lese Ibsen? Samtalen om hans dramatikk 1879–2015","authors":"Ellen Rees","doi":"10.1080/15021866.2015.1099862","DOIUrl":"https://doi.org/10.1080/15021866.2015.1099862","url":null,"abstract":"Introduction Erik Bjerck Hagen is an engaging and often polemical scholar committed to a narrative about the study of literature in which – essentially – little scholarship of value is produced after 1970, or better yet after World War II. In his latest book, he sets out to prove this in relation to Ibsen scholarship. The core of his argument is that scholars who attempt to use critical theory to interpret Ibsen add nothing substantive to what we already know through the insights and hard work of earlier critics and scholars. Hagen points out that Hvordan lese Ibsen? is “like mye en bok om norsk forskningsog kritikkhistorie som om Ibsen” (9) [just as much a book about the history of Norwegian research and criticism as about Ibsen]. This is an ambitious claim that requires extensive empirical data and careful analysis to support. The book’s greatest strength is that it unearths a great deal of insightful Ibsen criticism that, as Hagen rightly points out, contemporary scholars have neglected or ignored for far too long. Hagen chooses five of Ibsen’s works and then dedicates a chapter to each, in which he establishes an interpretive consensus for the play in question, and then discusses a handful of theory-informed readings of it that he views as misguided. The methodological problems with this approach should be glaringly obvious. The four post1970 analyses of A Doll House that Hagen chooses to engage with, for example, are in no way representative; they are simply four analyses with which Hagen happens to disagree. His critiques of the scholarship are in many cases insightful, interesting, and always engagingly written, but to extrapolate further that this says anything meaningful about the state of Norwegian Ibsen scholarship as a whole after","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1099862","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

How Ibsen Fared in Russian Culture and Politics 易卜生在俄国文化和政治中的表现

Ibsen Studies Pub Date : 2014-07-03 DOI: 10.1080/15021866.2014.998046

L. Senelick

{"title":"How Ibsen Fared in Russian Culture and Politics","authors":"L. Senelick","doi":"10.1080/15021866.2014.998046","DOIUrl":"https://doi.org/10.1080/15021866.2014.998046","url":null,"abstract":"Flying into Moscow from the West in the Soviet era, one could see the city ringed round by a green belt. This was the Khimki Forest, an immemorial woodland of old-growth birch trees that harbored a dense ecology of flora and fauna. Nowadays the passenger sees the forest pocked by the roofs of Mcmansions, built by oligarchs in defiance of zoning laws or natural topography. What’s worse, a highway to St Petersburg has been projected, evoking mass protest on environmental grounds. The project was suspended in 2010, but not before Mikhail Beketov, a crusading investigative reporter, was severely beaten, losing one leg and four fingers as a result. Beketov died in Khimki on 8 April 2013 of cardiac arrest, a belated result of the attack. Three weeks later, the first Russian production of An Enemy of the People in over a century opened at the Mayakovsky Theatre in Moscow. The poster displayed a Victorian gentleman in a morning coat and top hat, wearing a gas mask. It signaled that the production would be a provocation. The title itself was a challenge. Konstantin Stanislavsky’s production of 1901 had been called, less provocatively, Doctor Stockmann. “Enemy of the people” (vrag naroda), originally a Jacobin term of abuse, was revived by Lenin in 1917 to tar the Constitutional Democratic Party. The aspersion was cast far and wide by Stalin during the agrarian collectivization movement of the early 1930s to attack “kulaks,” recalcitrant peasants, and again during the purges of 1937. The accused were made to denounce themselves and others as enemies of the people, an accusation constantly repeated in the charge sheets. In a Russian context, it is heavily freightedwith sinister connotations. Ibsen Studies, 2014 Vol. 14, No. 2, 91–108, http://dx.doi.org/10.1080/15021866.2014.998046","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2014.998046","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Biografisk leksikon til Ibsens brev – med tidstavle 易卜生书信传记词典-附时间表

Ibsen Studies Pub Date : 2014-07-03 DOI: 10.1080/15021866.2014.999456

Giuliano D’Amico

引用次数: 3

Suez Modernism: Transportation, History, and Ibsen's Stylistic Shift 苏伊士现代主义:交通、历史和易卜生的风格转变

Ibsen Studies Pub Date : 2014-07-03 DOI: 10.1080/15021866.2015.1005904

Julia A. Walker

{"title":"Suez Modernism: Transportation, History, and Ibsen's Stylistic Shift","authors":"Julia A. Walker","doi":"10.1080/15021866.2015.1005904","DOIUrl":"https://doi.org/10.1080/15021866.2015.1005904","url":null,"abstract":"In the fall of 1869, Henrik Ibsen represented Norway at the ceremonies marking the inauguration of the Suez Canal. As a seafaring nation with a robust shipping economy, Norway had strong interests in the success of this unprecedented engineering feat whereby 98 miles of inland desert was cut away, creating an unbroken passageway between European ports with access to the Mediterranean Sea and Eastern ports beyond the Red Sea. Ibsen, ever flattered by official forms of recognition, was happy to attend, finding himself in the company of other cultural luminaries, such as Théophile Gautier and Émile Zola among the 1600 guests in attendance (Farnie 1969, 83–87). Aside from his diary and a few poems, Ibsen wrote very little that explicitly addressed the Canal and his experiences in Egypt. Shortly thereafter, however, he completed his monumental Emperor and Galilean (1873) and sketched out notes for Pillars of Society (1877), plays that would mark a stylistic break with the poetic dramas of his early career and set the template for the realistic prose plays that announced the arrival of modern drama. Although critics have traditionally understood Ibsen’s stylistic shift to have been prompted by his intense intellectual exchange with the Danish critic Georg Brandes (see, e.g., Styan 1981, 19), I argue that it was also prompted by his experiences in Egypt. After all, Brandes’s Main Currents in Nineteenth Century Literature (1871), with its imperative to address the social problems of the day, explains only the shift in subject matter that distinguishes Ibsen’s late from his early plays. It does not account for the development of his modernist dramatic form. Recent critics have attributed Ibsen’s stylistic shift to his break with idealist esthetics, finding both narrative and formal evidence to Ibsen Studies, 2014 Vol. 14, No. 2, 136–166, http://dx.doi.org/10.1080/15021866.2015.1005904","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1005904","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5

Nietzschean Variations: Politics, Interest, and Education in Ibsen's An Enemy of the People 尼采变体:易卜生《人民公敌》中的政治、利益与教育

Ibsen Studies Pub Date : 2014-07-03 DOI: 10.1080/15021866.2014.1000659

K. Gjesdal

{"title":"Nietzschean Variations: Politics, Interest, and Education in Ibsen's An Enemy of the People","authors":"K. Gjesdal","doi":"10.1080/15021866.2014.1000659","DOIUrl":"https://doi.org/10.1080/15021866.2014.1000659","url":null,"abstract":"Henrik Ibsen’s An Enemy of the People (1882) has had an unusual reception. Following A Doll’s House (1879) andGhosts (1881), plays that were scandalized upon performance only to be counted, relatively soon, among Ibsen’s most important works, An Enemy of the Peoplewas caught up by history in a different way. While the play has, no doubt, enjoyed bouts of popularity – including the many stagings that followed in thewake of its publication – late twentieth-centurycritics have worried about the political implications of Dr. Stockmann’s elitism and sometimes even compared it to the rhetoric of the later Nationalist Socialistmovement inGermany (Sage 2006, 3–5, 310–311; Ferguson 1996, 280ff ). The kind of elitist sentiments Dr. Stockmann airs inAn Enemy of the People are often associated with the teaching of Friedrich Nietzsche. Nietzsche’s work was much debated and discussed in Scandinavia when Ibsen was working on the play. Thus, critics have emphasized how Ibsen’s play resonates with a kind of aristocratic pathos that is not unlike the onewe find inwork of theGerman philosopher.While such a reading was prefigured in an essay by Anathon Aall at the beginning of the Twentieth Century, we findmore recent versions of the argument in works by Noreng (1969), de Figueiredo (2007) and Kittang (2005). In his reading ofAn Enemy of the People, Kittang speaks Ibsen Studies, 2014 Vol. 14, No. 2, 109–135, http://dx.doi.org/10.1080/15021866.2014.1000659","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2014.1000659","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 7

The Fusion of the Man and His Work: John Gabriel Borkman with Ibsen's Mask 人与作品的融合:约翰·加布里埃尔·博克曼与易卜生的面具

Ibsen Studies Pub Date : 2014-01-02 DOI: 10.1080/15021866.2014.937152

Jens-Morten Hanssen

{"title":"The Fusion of the Man and His Work: John Gabriel Borkman with Ibsen's Mask","authors":"Jens-Morten Hanssen","doi":"10.1080/15021866.2014.937152","DOIUrl":"https://doi.org/10.1080/15021866.2014.937152","url":null,"abstract":"Henrik Ibsen is, without a doubt, an icon in the modern, secular sense of the term. One effect of his iconic standing is a recent trend within the tradition of Ibsen in performance. Ibsen is no longer just a playwright. An Ibsen production is not necessarily a staging of a play written by him. It may as well be a staging of a play written – or “pieced together” – by someone else, the plot of which is based on events in Ibsen’s life or the design of which is based on Ibsen’s works. Understandably, Ibsen may in these productions occasionally appear as a dramatic figure, as himself. In the past three decades, this trend has increased in volume, with a preliminary peak in the Ibsen Year 2006. The phenomenon is not at all restricted to Norway. Since 2006, productions like this have been traced in Norway, Mexico, USA, Italy, Argentina, Germany, England, Bangladesh, Japan, Canada, Spain, Sweden and China. The Ibsen character in these productions, if there is one, fulfils a number of dramaturgical functions. He may be portrayed in the form of a doll, a statue, a mute, an actor or an actress with lines of dialogue, of young or old age, thick or thin, tall or small. However, despite the diversity in the physical shaping of the Ibsen character, theatre audiences all over the world recognize the character as Ibsen within a fraction of a second when he enters the stage because of the activation of a set of simple, iconographic elements: whiskers, top hat, overcoat, glasses. When did Ibsen turn into an icon? In his latest book, Ibsen og fotografene, Peter Larsen investigates the phenomenon on the basis of photographs of Ibsen. Scrutinizing all extant portrait Ibsen Studies, 2014 Vol. 14, No. 1, 52–70, http://dx.doi.org/10.1080/15021866.2014.937152","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2014.937152","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1