Ibsen Studies最新文献_第9页

Bonfire of the Vanities: Moral Dynamics in Ibsen’s Brand 虚荣的篝火:易卜生品牌中的道德动力

Ibsen Studies Pub Date : 2016-01-02 DOI: 10.1080/15021866.2016.1180867

Ø. Brekke

引用次数: 0

Dead Awaken? An empirical study of Ibsen’s presence in contemporary Flemish theater 死唤醒?易卜生在当代佛兰德戏剧创作中的实证研究

Ibsen Studies Pub Date : 2016-01-02 DOI: 10.1080/15021866.2016.1180868

Daan Vandenhaute

{"title":"Dead Awaken? An empirical study of Ibsen’s presence in contemporary Flemish theater","authors":"Daan Vandenhaute","doi":"10.1080/15021866.2016.1180868","DOIUrl":"https://doi.org/10.1080/15021866.2016.1180868","url":null,"abstract":"In 1880 the Stadsschouwburg Amsterdam put on Pillars of Society, the first time Henrik Ibsen was staged in Dutch. Ever since Ibsen has been part of theater life in the Low Countries. As Rob van der Zalm has shown in his standard study on the reception of Ibsen in the Netherlands, the extent of this presence has fluctuated over time. After a tentative start, an introductory decade (1880–1890) was followed by a period of 40 years during which the number of productions were about 20 per decade. From 1930 until 1970 the number of productions decreased drastically, to less than then 10 per decade, but from 1970 onward the interest for Ibsen increased manifestly again. Van der Zalm notes that by the time he ends his investigation, 1995, 26 productions of Ibsen had already been staged, as many as during the entire 1980s. In a brief follow-up study published in the wake of the 2006 Ibsen anniversary van der Zalm observes that “(b) etween 1991 and 2000 the number of Ibsen productions reached the astonishing figure of forty, which means an average of four every season” (Van der Zalm 2007, 118). Van der Zalm’s data refer to the staging of Ibsen in the Netherlands. A similar rigorous investigation of the situation in Flanders, the Dutch-speaking part of Belgium, is unfortunately not available. This article aims to contribute to our understanding of the reception of Ibsen in contemporary Flanders. To this end, I develop a double perspective: on the one hand, I focus on the production side, studying how often Ibsen – and which Ibsen – has been staged in Flanders since 1985; on the other hand, I examine Ibsen’s status for contem-","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"193 1","pages":"71 - 99"},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2016.1180868","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953627","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

‘Nats Go Home’: Modernism, Television and Three BBC Productions of Ibsen (1971–1974) “国民回家”:现代主义、电视和易卜生的三部BBC作品(1971-1974)

Ibsen Studies Pub Date : 2016-01-02 DOI: 10.1080/15021866.2016.1180869

Billy Smart

引用次数: 0

The Call from Afar: A Heideggerian–Lacanian rereading of Ibsen’s The Lady from the Sea 来自远方的呼唤:海德格尔-拉康式对易卜生《来自海上的女人》的重读

Ibsen Studies Pub Date : 2015-07-03 DOI: 10.1080/15021866.2015.1117854

H. Zwart

{"title":"The Call from Afar: A Heideggerian–Lacanian rereading of Ibsen’s The Lady from the Sea","authors":"H. Zwart","doi":"10.1080/15021866.2015.1117854","DOIUrl":"https://doi.org/10.1080/15021866.2015.1117854","url":null,"abstract":"The Lady from the Sea, written in 1888, is a compelling portrayal of fin-de-siecle marital existence and structured like a therapy, featuring Ellida Wangel as a ‘patient’, haunted by reminiscences concerning a mysterious sailor and tormented by desire for a different mode of existence, closer to the sea. Although the therapeutic design is clearly present, another possible reading shifts the focus from front-stage to backdrop and from the therapeutic talking sessions to the ambiance: not the decor (the Norwegian coastal-provincial scenery, the panoramic landscape), but rather that which lies beyond it: the invisible, un-representable, unseeable sea. What is the ‘sea’ in Ibsen’s play? And what exactly is this fatal attraction to which Ellida has fallen victim? To address these questions, Ibsen’s play will be subjected to three subsequent readings. The first one focusses on the play as therapy, directed at strengthening Ellida’s ego in confrontation with the Id (‘Es’). Subsequently, the play will be read from a Heideggerian perspective. The reading direction will be reversed, from the (successful?) therapeutic outcome to the chronic discontent pervading the drama from the very start, and from modern human existence to primordial nature. The focus will be on what Heidegger thematises as the Call of Conscience in Being and Time, and in his later writings as the Call of primordial Nature. Finally, a Lacanian reading allows me to bridge the Freudian and the Heideggerian approaches, presenting Ellida as an ‘amphibian’ (divided) subject, who not only produces an intriguing parable concerning our amphibian origins (as an explanation of pervasive human discontent), but eventually comes face to face with the ultimate object-cause of her desire: the Stranger’s uncanny, mesmerizing eyes: an encounter at the edges of the symbolic order, challenging her to come to terms with the unsettling Real.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"15 1","pages":"172 - 202"},"PeriodicalIF":0.0,"publicationDate":"2015-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1117854","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953957","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: 3

The Structure of the Interpersonal Relationships in Ibsen’s Little Eyolf: A Japanese Perspective 易卜生《小狼》中的人际关系结构:一个日本视角

Ibsen Studies Pub Date : 2015-07-03 DOI: 10.1080/15021866.2015.1117853

M. Mori

{"title":"The Structure of the Interpersonal Relationships in Ibsen’s Little Eyolf: A Japanese Perspective","authors":"M. Mori","doi":"10.1080/15021866.2015.1117853","DOIUrl":"https://doi.org/10.1080/15021866.2015.1117853","url":null,"abstract":"Ever since Little Eyolf’s publication in 1894, criticism of the play has been split between positive and negative views of the couple’s decision to take care of the poor children in the final scene. I stand on the positive side from a perspective on the characters and their relationships that is rooted in certain concepts from Japanese culture and psychology. Little Eyolf may be the play in Ibsen’s oeuvre that most distinctly demonstrates those Japanese psychological and cultural concepts. This aspect will be discussed in detail below, but let us first examine the basic structure of the play composition. A complete draft manuscript (arbeidsmanuskript) of Ibsen’s Little Eyolf is extant. The draft manuscript is dated 7 August 1894, while a fair copy of the final manuscript was sent to the publisher in Copenhagen on 13 October. Therefore, the revisions to the draft seem to have been conducted in August and September 1894. There are already six dramatic characters in the draft: a husband (Alfred) and wife (Rita); their little son (Eyolf ), the husband’s younger half-sister (Asta); a road construction engineer, Borghejm; and the rat-catcher, the Rat-Wife. With the exception of the Rat-Wife and Borghejm, their names are frequently altered during the revision of the draft and from the draft to the final version. However, the basic plot of the play and the three-act composition do not change from the draft to the published version. At the scene-to-scene level, too, the","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"15 1","pages":"142 - 171"},"PeriodicalIF":0.0,"publicationDate":"2015-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1117853","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953892","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

Little Eyolf – A Sartrean Reading* 《小埃尔夫——萨特式的读本》

Ibsen Studies Pub Date : 2015-07-03 DOI: 10.1080/15021866.2015.1117852

Lior Levy

{"title":"Little Eyolf – A Sartrean Reading*","authors":"Lior Levy","doi":"10.1080/15021866.2015.1117852","DOIUrl":"https://doi.org/10.1080/15021866.2015.1117852","url":null,"abstract":"In “A Century of Ibsen Criticism,” Errol Durbach describes Ibsen as a precursor to the twentieth-century existentialists (Durbach 1994, 245). According to Durbach, Ibsen’s plays, which dramatize the experience of becoming oneself through action and explore the need to assume responsibility over one’s choices, express concerns that are “ultimately existential” (Durbach 1994, 245) Durbach is not alone in identifying existential currents in Ibsen’s dramatic oeuvre. In 1949, only a few years after Jean-Paul Sartre’s existential play No Exit was produced in France for the first time in 1944, Henry Nordmeyer described Ibsen’s Enemy of the People and The Lady from the Sea as plays that present an “existential situation” (Nordmeyer 1949, 592). Martin Esslin also finds expressions of the existential notions of situation and freedom in Ibsen’s work (Esslin 1980). And most recently, Kristin Gjesdal pointed to existential dimensions in Ibsen’s A Doll’s House (Gjesdal 2010). Ibsen’s existentialism is often traced back to the work of Søren Kierkagaard, the most well-known Scandinavian philosopher in Ibsen’s time. Different studies explore the historic and thematic grounds for reading Ibsen in light of Kierkagaard’s philosophy (Fjelde 1968; Esslin 1980, 77; Durbach 1982, 82–86; Kittang 2006, 307; Gjesdal 2010, 12–13). In these discussions, the name of Jean-Paul Sartre, himself an existential philosopher and dramatist, is often left out or mentioned only in passing. However, Sartrean existentialism provides a rich conceptual framework for reading Ibsen’s work. In what follows, I draw on Sartrean concepts such as bad-faith and the look, as well as on Sartrean conceptions of self hood and subjectivity to provide a new context for reading Ibsen’s Little Eyolf (1894). These","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"15 1","pages":"113 - 141"},"PeriodicalIF":0.0,"publicationDate":"2015-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2015.1117852","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953932","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’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":"15 1","pages":"103 - 109"},"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":"15 1","pages":"3 - 39"},"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":"15 1","pages":"40 - 65"},"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