Ibsen Studies最新文献

{"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":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1757303","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}

{"title":"Redecorating A Doll’s House in Contemporary German Theater—Multiple Authorship in Ibsen’s Nora","authors":"Clemens Räthel","doi":"10.1080/15021866.2020.1757302","DOIUrl":"https://doi.org/10.1080/15021866.2020.1757302","url":null,"abstract":"The last time I went to see Ibsen’s A Doll’s House (1879) staged in Berlin, I was taken by surprise that, afterwards, a colleague did not ask me how much, or even if, I liked the production or the ...","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/10.1080/15021866.2020.1757302","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44952990","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}

{"title":"Networks, Asymmetries and Appropriations: Towards A Typology","authors":"Narve Fulsås, Tore Rem","doi":"10.1080/15021866.2019.1640449","DOIUrl":"https://doi.org/10.1080/15021866.2019.1640449","url":null,"abstract":"This is an Accepted Manuscript of an article published by Taylor & Francis in Ibsen Studies on 24 Jul 2019, available online: http://www.tandfonline.com/ https://doi.org/10.1080/15021866.2019.1640449 .","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1640449","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49249032","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}

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

{"title":"Franco Perrelli: On Ibsen and Strindberg: The Reversed Telescope","authors":"Anna Stavrakopoulou","doi":"10.1080/15021866.2019.1640451","DOIUrl":"https://doi.org/10.1080/15021866.2019.1640451","url":null,"abstract":"In his 2015 monograph, Strindberg l’italiano – 130 anni di storia scenica (Edizioni di Pagina, Bari), Franco Perrelli covers the reception of the author in Italy from 1884 (which marks the visit of Strindberg to Italy) to 2014, in a chronological and most comprehensive way. In his recent volume, On Ibsen and Strindberg: The Reversed Telescope, he has published nine articles in English on the reception of either Ibsen or Strindberg, or both. While eight of these essays have been previously published, one of them, “Strindberg in the Italian Nineteenth-Century Theatrical Canon” was presented at the twentieth International Strindberg Conference in Krakow in 2017 and appears in print for the first time (Ch. 6, 65–76). In it Perrelli addresses key factors relating not only to Strindberg, but to theatrical reception at the end of the nineteenth century, in general, including the fame and impact of the actors involved, and the primary importance of the translations and adaptations undertaken for the stagings. Ermete Zacconi (1857–1948), who had gained fame playing Osvald in Ibsen’s Ghosts, played the Captain in The Father, “creating the illusion that his own gaze, voice and gestures were the character’s instead” (as quoted on 67–68, from Zacconi’s obituary in Il dramma in 1948). Perrelli offers a very detailed analysis of changed words (where for instance, “mineralogy” has been translated as “meteorology”, 70), lines and instructions, which proves beyond doubt that these early translations were meticulous adaptations to fit both the stars that staged them and the sensitivities of the receiving culture. Apart from touching upon the accuracy of the early translations, a topic that has not been thoroughly studied in a systematic manner in relation to Strindberg or Ibsen,","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1640451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47405922","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}

{"title":"The Lark’s Lonely Twittering: An Analysis of the Monologues in A Doll’s House","authors":"Ragnar Arntzen, Gunhild Braenne Bjørnstad","doi":"10.1080/15021866.2019.1640928","DOIUrl":"https://doi.org/10.1080/15021866.2019.1640928","url":null,"abstract":"Ibsen’s use and rejection of the monologue in his modern, realistic dramas is an old and bewildering narrative. Maybe Ibsen himself is partly responsible for this bewildering. Already in 1869, he wrote to Georg Brandes that he had finished a play (De unges forbund/League of Youth) in which he had worked hard with the form, and proudly proclaimed that he had “gjort det Kunststykke at hjaelpe mig uden en eneste Monolog, ja, uden en eneste ‘afsides’ Replik/done that piece of an art to make it without a single monologue, yes, without a single aside” (Fulsås 2005, 352; our italics). This statement has later been quoted and commented on, and several scholars see this removal of the monologues as an important part of Ibsen’s modernizing of the drama genre (Northam 1953, 15; Geis 1993, 18). R. Farquharson Sharp claims that A Doll’s House marks a turning point in the history of European drama: “Naturalness of dialogue and situation [... ] and the disappearance of such artificialities as the soliloquy” (Sharp 1949, x; our italics). Alisa Solomon draws this somewhat ironic picture of this topic:","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1640928","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47011826","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}

{"title":"Frode Helland and Julie Holledge (editors): Ibsen on Theatre, with new translations of Henrik Ibsen’s writings by May-Brit Akerholt and a foreword by Richard Eyre","authors":"Clare Glenister","doi":"10.1080/15021866.2019.1661128","DOIUrl":"https://doi.org/10.1080/15021866.2019.1661128","url":null,"abstract":"Ibsen on Theatre is the third title to be published by Nick Hearn Books in the ...On Theatre Series. It follows Shakespeare on Theatre (2012), edited by Nick de Somogyi, and Chekhov on Theatre (2012), compiled by Jutta Hercher and Peter Urban, with translations by Stephen Mulrine. (n.b. Chekhov on Theatre was published first in Germany in 2004). Ibsen on Theatre (2018) is edited by Frode Helland and Julie Holledge, with translations by May-Brit Akerholt. The premise of ...On Theatre Series is, according to its own tagline, to show “[w]hat the world’s greatest dramatists had to say about theatre in their own words.” (p. ii) This it certainly does, albeit with certain variations of approach across the titles. There is insufficient space here for a detailed comparison of the three but it may be useful to highlight some of these variations. The first concerns language. The ...On Theatre Series is aimed at English-speaking readers so, to state the obvious, whilst the source texts in Shakespeare remain in the original, those in Chekhov and Ibsen are presented in translation. I am a little disappointed that nowhere in Ibsen on Theatre are play titles presented in Norwegian. In Chekhov on Theatre, on the other hand, transliterated Russian versions are offered (“Chaika”, “Dyadya Vanya”, “Tri sestry”, etc. pp. 228–237). The second concerns source materials. Shakespeare left no correspondence so the texts in this volume are drawn primarily from his plays and sonnets, supplemented by dramatic works and reminiscences by others. Chekhov, on the other hand, wrote a","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1661128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48417301","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}

{"title":"Shaw’s Ibsen: A re-appraisal","authors":"Sos Eltis","doi":"10.1080/15021866.2019.1597488","DOIUrl":"https://doi.org/10.1080/15021866.2019.1597488","url":null,"abstract":"","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1597488","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46620279","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}

{"title":"The Form of Finitude: AASE’s Death in Peer Gynt","authors":"Leonardo F. Lisi","doi":"10.1080/15021866.2019.1597484","DOIUrl":"https://doi.org/10.1080/15021866.2019.1597484","url":null,"abstract":"Given how thoroughly Ibsen is identified with his prose dramas it is perhaps unsurprising that relatively little attention has been paid to his verse. When it is discussed at all, it tends to be in terms of the light it sheds on his later production or, at best, in the context of the closet dramas Brand and Peer Gynt. In studies of these latter works, however, purely poetic considerations are mostly sidelined by attention to questions of character or plot. If understandable, this tendency is nevertheless highly regrettable since Ibsen was an eminently accomplished poet whose craft amply rewards detailed examination. Perhaps this is nowhere as apparent as in the magnificent scene of Aase’s death in Peer Gynt (584–595), made famous, not least, by Edvard Grieg’s musical version. The passage is widely recognized as an extraordinary achievement and yet, to the best of my knowledge, it has not previously been subjected to detailed analysis. In what follows, I offer a close reading of some of this scene’s poetic features, both as a way to unpack its overall dynamic and to suggest a few of its broader aesthetic implications. In basic terms, my argument is that the scene divides in two. The first half consists of three distinct attempts to escape the fact of death by deploying the creative force of poetry and narrative in three different temporal","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1597484","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42442266","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}

{"title":"Preface","authors":"Ellen Rees","doi":"10.1080/15021866.2019.1597478","DOIUrl":"https://doi.org/10.1080/15021866.2019.1597478","url":null,"abstract":"This book has grown out of an undergraduate course that I have taught at the Australian National University (ANU) for over 20 years. The course is one-semester long, which means that it runs for a total of 12 weeks. In each week I teach two lectures, where a lecture is defined as a 100-minute class with a 5-minute break in the middle. This lecture format is common in Europe but can be implemented almost everywhere; for example, at the ANU—where a normal teaching period is 50 minutes—I simply reserve two consecutive periods for every lecture. A 12-week semester can in principle accommodate 24 lectures of this kind but the course material only occupies 21, with the remaining time spent on discussing assignments, review, etc. While I was transforming my lecture notes into a book, I decided to keep the splitting of the course material into 21 lectures. This approach is unusual as most authors would organise the content into chapters, with each chapter accommodating a particular topic. However, I find that dividing the material according to the way it is presented at the lectures has several advantages compared to the traditional topicbased book composition. Indeed, first of all, the lecture-based organisation ensures that the content is partitioned into (approximately) equal pieces, so that none of them stands out and looks intimidating to the students at least as far as the length is concerned. This issue becomes particularly important for those who wish to use the book for self-study and would like to keep a close eye on their overall progress. Secondly, the lecture-based format guarantees that the students get more training for the more advanced topics, which are spread over several lectures. Indeed, each lecture has its own unique set of exercises, and the students are strongly encouraged to do at least some of them before moving on. It is then automatic that the harder the topic, the more exercises one is expected to do to go through it. It should also be mentioned that some of the exercises for each lecture serve as a preparation for the following one. Thirdly, the lecture-based split-up gives clear teaching guidelines to the instructor, at the same time allowing for the possibility of re-arranging the material according to their own taste. As the book covers a one-semester course, it is shorter than most complex analysis texts (approximately 200 pages). It is well-known that many students are intimi-","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1597478","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43664847","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}