Ibsen Studies最新文献_第5页

Stories of “Infidelity”: Nazi Ibsen Adaptations and the Norwegian Press “不忠”的故事：纳粹易卜生的改编与挪威出版社

Ibsen Studies Pub Date : 2020-07-02 DOI: 10.1080/15021866.2020.1825103

Thor Holt

{"title":"Stories of “Infidelity”: Nazi Ibsen Adaptations and the Norwegian Press","authors":"Thor Holt","doi":"10.1080/15021866.2020.1825103","DOIUrl":"https://doi.org/10.1080/15021866.2020.1825103","url":null,"abstract":"Considering the shocking themes, feminism, and critique of idealism in Henrik Ibsen’s plays, the fact that only adaptations of Ludwig Ganghofer’s homeland novels premiered more often in the Nazi era presents puzzling paradoxes to film historians and readers of Ibsen alike (Drewniak 1987, 562; Holt 2020, 303). How did it come to be that this revealer of social ills and lies was used by a film industry notorious for its deceitful propaganda? Ibsen’s independent women, like Nora and Lona Hessel, can hardly be imagined as role models for the “Aryan housewife.” Minister of propaganda Joseph Goebbels, who orchestrated film production in Nazi Germany, preferred Knut Hamsun and considered Ibsen outdated, according to his diaries. This Zeitgeist notwithstanding, a “wave” of five Ibsen adaptations premiered in Germany between 1933 and 1945 – a period that saw a marked decrease in Ibsen adaptations globally (T€ ornqvist 1994, 205). Despite starring the biggest male film stars of the era and being produced by some of the top talent remaining in the German film industry, the Ibsen adaptations in the Third Reich have mostly languished in film historical obscurity. One likely reason is the relative unavailability of the films, which for the most parts are hidden in archives, unavailable in official versions on the commercial market. In a recent PhD dissertation on Ibsen and Nazi cinema, I erroneously claim that none of these adaptations premiered in Norway (Holt 2020, xxvi). In fact, four Nazi era adaptations screened in Ibsen’s homeland during the 1930s","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1825103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42268570","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

Ibsen in the German-American Theater 易卜生在德美剧院

Ibsen Studies Pub Date : 2020-07-02 DOI: 10.1080/15021866.2020.1823628

Svein Henrik Nyhus

{"title":"Ibsen in the German-American Theater","authors":"Svein Henrik Nyhus","doi":"10.1080/15021866.2020.1823628","DOIUrl":"https://doi.org/10.1080/15021866.2020.1823628","url":null,"abstract":"Ibsen’s introduction and subsequent recognition as a dramatist of significant merit in America was a prolonged affair. Seen from the perspective of the stage, his breakthrough first came between 1903 and 1904, more than two decades after the first production of Pillars of Society at the Stadttheater, performed in German in Milwaukee, 1879. Compared to the central countries in Ibsen’s European reception, England, France and Germany, the effect on domestic theatrical life upon entry was not as immediate and transformative. During these twenty-five years, however, Ibsen was staged frequently in German-American theaters. German immigrants nurtured a distinct theatrical culture that was susceptible to the popular currents in Germany, but as an institution in the margins of mainstream American theatrical life, it was also shaped by concerns with commercial sustainability, cultural prestige, self-preservation and social issues relating to immigration. While certain performances of Ibsen in German-American theaters have previously been noted in Ibsen-scholarship, they have not been analyzed as a whole. This article presents new historical material, highlights the conditions of Ibsen’s transference to this theater culture, examines its absorption of Ibsen, assesses the reception, and estimates the significance of these performances for Ibsen’s progress in American mainstream theater. The approach starts from a quantitative viewpoint and proceeds as theater history. Primarily a case study, the aim is also on a more general level, to make a contribution that sheds further light on the transnational underpinnings of Ibsen’s initial global diffusion, and to expand upon the historical understanding of the different","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1823628","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953902","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

Doctoral Defense: Ibsen through the Camera Lens in the Third Reich 博士答辩:第三帝国镜头下的易卜生

Ibsen Studies Pub Date : 2020-07-02 DOI: 10.1080/15021866.2020.1834737

Thor Holt, E. Rentschler, M. B. Rasmussen

{"title":"Doctoral Defense: Ibsen through the Camera Lens in the Third Reich","authors":"Thor Holt, E. Rentschler, M. B. Rasmussen","doi":"10.1080/15021866.2020.1834737","DOIUrl":"https://doi.org/10.1080/15021866.2020.1834737","url":null,"abstract":"Far from Home: Ibsen through the Camera Lens in the Third Reich (2020) is the first monograph on adaptation practices in Nazi cinema and explores the extensive (mis)use of Ibsen on screen in Hitler’s Germany: which Ibsen texts were adapted in the Third Reich and why, how was Ibsen adapted, and, finally, what are the ideological implications of these films? The dissertation probes five scarcely explored Ibsen adaptations – Hans Hinrich’s Das Meer ruft (1933), Fritz Wendhausen’s Peer Gynt (1934), Detlef Sierck’s St€utzen der Gesellschaft (1935), Hans Steinhoff’s Ein Volksfeind (1937), and Harald Braun’s Nora (1944) – in their respective historical moments, shows why these films are important within the legacy of Nazi cinema, sheds new light on relations between German, Norwegian, and, by extension, Scandinavian culture in this era, and argues that the extreme historical context highlights the need to frame adaptation studies in a wider social and cultural field. The work draws upon poststructuralist turns in adaptation theory and cultural studies, and situates the respective films in their immediate historical contexts. Applying heterogeneous models of ideology rather than deterministic propaganda models, it argues that the five films played a role in creating and maintaining the Volksgemeinschaft, but also serve as prisms of the inner contradictions in the matrix of Nazi ideology and Hitler’s Germany.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1834737","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46671906","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

What is a full life? Reflections on Ibsen and Literary Biography, and on Sverre Mørkhagen’s Ibsen: … “Den Mærkelige Mand” 什么是完整的人生?易卜生与文学传记的反思——兼论斯韦雷·穆哈根的《易卜生》——《登·穆ær ærkelige and》

Ibsen Studies Pub Date : 2020-07-02 DOI: 10.1080/15021866.2020.1823627

H. Rønning

引用次数: 1

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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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

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