Ibsen Studies最新文献_第5页

Preface 前言

Ibsen Studies Pub Date : 2020-07-02 DOI: 10.1080/15021866.2020.1825104

Gianina Druță

{"title":"Preface","authors":"Gianina Druță","doi":"10.1080/15021866.2020.1825104","DOIUrl":"https://doi.org/10.1080/15021866.2020.1825104","url":null,"abstract":"The year’s second issue of Ibsen Studies takes the reader through a spatial, temporal, methodological and even generational journey in the Ibsen world from Milwaukee, Chicago and New York to Hong Kong, and from the beginning of the 20 century to the end of World War 2. Not only that, film, theatre and performance, Digital Humanities, literary studies and even economics meet in this landscape. Furthermore, this issue celebrates the debut of a new generation of Ibsen scholars, who bring to light new datasets and fresh perspectives from their doctoral research. Lars August Fodstad’s “Economic extensions in Space and Time: Mediating Value in Pillars of the Community and A Doll’s House” weaves together literature, economy and media history, focusing on the central role of money in Ibsen’s works. He demonstrates how the macroeconomic structures in Pillars of the Community are built on the relationship between time, information and money, whereas in the microeconomic household universe of A Doll’s House, risk management is connected, for example, with the private trading of the female body. Overall, Fodstad approaches the consequences of the characters’ financial behaviour as a way to thematise and highlight the importance of temporal and spatial displacement not only in Ibsen’s plays, but also in the modern drama in general. Svein Henrik Nyhus’s inquiry into “Ibsen in the GermanAmerican Theatre” exploits further the principle of spatial extension, but from a quantitative Digital Humanities and theatre historiographical perspective. The article draws on the author’s recently defended doctoral dissertation and focuses on the contribution of German immigrant communities to the breakthrough of Ibsen in America at the beginning of the 20 century, using the IbsenStage database as a starting point. It demonstrates the","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"107 - 109"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1825104","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48764454","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

Diderot, Ibsen, and the Drame Lyrique in Scandinavia 狄德罗、易卜生与斯堪的纳维亚德拉姆抒情诗

Ibsen Studies Pub Date : 2020-01-02 DOI: 10.1080/15021866.2020.1757301

Martina Wahlberg

{"title":"Diderot, Ibsen, and the Drame Lyrique in Scandinavia","authors":"Martina Wahlberg","doi":"10.1080/15021866.2020.1757301","DOIUrl":"https://doi.org/10.1080/15021866.2020.1757301","url":null,"abstract":"Diderot devised what he himself perceived as a completely new kind of contemporary theater. This part of his output has been somewhat overshadowed by his more general contributions to the French Enlightenment. A huge interest in his Encyclop edie and in his highly experimental narrative prose developed in the 1950s and 1960s, alongside the rise of le nouveau roman (Fellows 1970, 96). Meanwhile, to this day, his crucial texts on theater remain largely inaccessible to modern readers unfamiliar with the French language. His plays are rarely put on by theaters, in contrast to his philosophical texts, which, paradoxically, are regularly staged (Frantz 2004, 36). His innovative drama and theater theory should, however, be of particular interest to the study of Ibsen’s contemporary plays, with which they resonate in arresting ways. A whole range of similarities will strike anyone who compares Ibsen’s contemporary plays with Diderot’s drama and writings on theater from the 1750s. The question of Ibsen’s turn towards a new form of contemporary drama at a rather late stage in his career has puzzled critics since his own lifetime. A common opinion is summed up by a student writing in the year after his death: ‘Ibsen is French Technic plus Northern Genius’ (Robbins 1907, 4). These two elements, the method of the well-made play as practiced by Scribe and his school, and a somewhat mysterious northern component, are echoed in scholarship throughout the twentieth century. In his seminal study Ibsen’s Dramatic Technique, P. D. F. Tennant","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"37 - 66"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1757301","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49504529","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

Keld Hyldig: Ibsen og norsk teater.. 凯尔德·海尔迪格：易卜生与挪威剧院。。

Ibsen Studies Pub Date : 2020-01-02 DOI: 10.1080/15021866.2020.1757300

Live Hov

引用次数: 0

Ivo de Figueiredo: Henrik Ibsen:

Ibsen Studies Pub Date : 2020-01-02 DOI: 10.1080/15021866.2020.1757299

S. Huq

引用次数: 0

Preface 前言

Ibsen Studies Pub Date : 2020-01-02 DOI: 10.1080/15021866.2020.1757304

Thor Holt

{"title":"Preface","authors":"Thor Holt","doi":"10.1080/15021866.2020.1757304","DOIUrl":"https://doi.org/10.1080/15021866.2020.1757304","url":null,"abstract":"This decade’s first issue of Ibsen Studies dives into what Franco Moretti named the “core” of literary Europe, with three articles exploring conjunctions and interconnections between Ibsen and influential currents in Germany, France, and Britain—both before and after Ibsen’s lifetime. In “The Struggle for Existence: Ibsen’s The Wild Duck (1884),” Lisbeth Pettersen Wærp reads The Wild Duck in light of Darwin’s notions of domesticated diversity. Wærp broadens the metaphorical resonance of the loft by exploring its many constituents, that is all the animals, as well as books, furniture, and other objects. Contrary to much existing Ibsen scholarship, she argues that Ibsen does not equate domestication with degeneration. Rather, she sees the loft as “a value-neutral image of existential struggle under differing prevailing conditions” that, in turn, reflects the Ekdal and Werle families in the play. In other words, the article asks us to envision how the characters are embedded in a complex psychosocial force field. Martin Wåhlberg takes on a less frequently explored topic in “Diderot, Ibsen, and the Drame lyrique in Scandinavia.” The article expands upon previous work by Erik Østerud and Toril Moi, and traces how French writer and philosopher Denis Diderot (1713–1784) anticipates key elements of Ibsen’s drama. As Robert Weimann asserts regarding the practice of intertextuality, texts feed off each other in multiple ways. Wåhlberg does not argue that the relation and relevance of Diderot to Ibsen is a matter of direct influence; still, striking similarities emerge from Wåhlberg’s comparative analysis. He points out the mix between tragedy and comedy, prose plays, contemporary topics, domestic settings, and retrospective techniques, to name a few. Wåhlberg identifies Ibsen as Diderot’s heir, the “genius to realize the full potential of his dramatic reform.” The article thus contributes to an understanding of how French literature both circulated in","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1757304","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48419865","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 Struggle for Existence. Ibsen’s The Wild Duck (Vildanden, 1884) 为生存而奋斗。易卜生的《野鸭》（维尔丹登，1884年）

Ibsen Studies Pub Date : 2020-01-02 DOI: 10.1080/15021866.2020.1757303

L. P. Wærp

{"title":"The Struggle for Existence. Ibsen’s The Wild Duck (Vildanden, 1884)","authors":"L. P. Wærp","doi":"10.1080/15021866.2020.1757303","DOIUrl":"https://doi.org/10.1080/15021866.2020.1757303","url":null,"abstract":"Moreover, the symbolism of the wild duck is clearly influenced by Darwin, either by Darwin’s reports in Variations of Animals and Plants under Domestication (1868) about how wild ducks degenerate in captivity (Bull 1932, 23–24; Downs 1950, 148–149; Zwart 2000, 94–95), or, more probably, by the chapter on domestication and variation in On the Origin of the Species (1859), which was translated into Danish in 1872 (Aarseth 1999, 127–128, 2005, 6; Rem 2014, 163). In the literature it is underscored that in this play Ibsen foregrounds domestication as degeneration, whereas Darwin’s main point is that it leads to variation in the species (Tjønneland 1998; Zwart 2000; Aarseth 2005; Shepherd-Barr 2015; Rem 2014). What I will argue is (1) that Ibsen, or the play as a whole, does not equate domestication with degeneration, (2) that the key to the play is the total constellation of animals and birds in the loft, not just the duck, and (3) that the loft is a scenic metaphor for the struggle for existence fought within and between the two families. In this way the image of the loft, an image in which the characters in the drama are reflected,","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"3 - 36"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1757303","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46966002","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

Redecorating A Doll’s House in Contemporary German Theater—Multiple Authorship in Ibsen’s Nora 德国当代戏剧中玩偶之家的重新装修——易卜生《诺拉》的多重创作

Ibsen Studies Pub Date : 2020-01-02 DOI: 10.1080/15021866.2020.1757302

Clemens Räthel

引用次数: 2

Jens-Morten Hanssen: Ibsen on the German Stage 1876–1918. 简斯·莫滕·汉森：1876-1918年德国舞台上的易卜生。

Ibsen Studies Pub Date : 2020-01-02 DOI: 10.1080/15021866.2020.1757298

T. Mohnike

引用次数: 0

Preface 前言

Ibsen Studies Pub Date : 2019-07-03 DOI: 10.1080/15021866.2019.1656927

Franco Moretti, Ragnar Arntzen, G. B. Bjørnstad

{"title":"Preface","authors":"Franco Moretti, Ragnar Arntzen, G. B. Bjørnstad","doi":"10.1080/15021866.2019.1656927","DOIUrl":"https://doi.org/10.1080/15021866.2019.1656927","url":null,"abstract":"With this issue of Ibsen Studies, we get back to basics, as it were, publishing two articles that each in their own way reconsider what we think we already know about Ibsen’s reception and about A Doll’s House respectively. In “Networks, Asymmetries and Appropriations: Toward a Typology,” Narve Fulsås and Tore Rem consolidate the major patterns in Ibsen’s European reception history. They identify four differing strategies for how Ibsen gained access to theatre and book markets outside of Scandinavia. Fulsås and Rem first give an account of the playwright’s own early attempts to gain access to the German market—what they call “self-initiated mediation”—, noting how quickly he lost control over the fate of his own work. They go on to explain the pattern of “imperial appropriation” in which France and Britain in particular appropriated Ibsen’s works “In ways which ultimately served to reaffirm the centrality of their own, hegemonic literature and culture” (pp. 65–87). In particular the English theatre critic Edmund Gosse actively campaigned to promote Ibsen as a means to strengthening his own status in the literary field. Fulsås and Rem label the third pattern they identify “radical appropriation,” explaining how Ibsen’s works were adapted and harnessed to serve a specific ideology. The most striking cases in this category are the reconceptualization of Ibsen as a socialist thinker, the appropriation of Ibsen for the feminist cause, and the French association of Ibsen with the avant garde theatre. Finally, Fulsås and Rem identify a pattern concerned with “faithful” appropriations of Ibsen, or, in other words, translations and adaptations of the plays that sought to be mindful of their original language and cultural context. Translator William Archer and the actresses Janet Achurch and Elizabeth Robins serve as the model for this pattern. Fulsås and Rem see these patterns as useful in identifying how literature is disseminated, and their article","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"63 - 64"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1656927","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48022011","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

Networks, Asymmetries and Appropriations: Towards A Typology 网络、不对称与挪用:走向类型学

Ibsen Studies Pub Date : 2019-07-03 DOI: 10.1080/15021866.2019.1640449

Narve Fulsås, Tore Rem

引用次数: 1