Ibsen Studies最新文献_第9页

Reading Ibsen with Irigaray: Gendering Tragedy in Hedda Gabler 与Irigaray一起读易卜生:《Hedda Gabler》中的性别悲剧

Ibsen Studies Pub Date : 2017-01-02 DOI: 10.1080/15021866.2017.1344379

Lior Levy

引用次数: 0

Ibsen and the Modern Breakthrough – The Earliest Productions of The Pillars of Society, A Doll’s House, and Ghosts 易卜生与现代突破——《社会栋梁》、《玩偶之家》和《鬼》的早期作品

Ibsen Studies Pub Date : 2016-07-02 DOI: 10.1080/15021866.2016.1249708

Ståle Dingstad

{"title":"Ibsen and the Modern Breakthrough – The Earliest Productions of The Pillars of Society, A Doll’s House, and Ghosts","authors":"Ståle Dingstad","doi":"10.1080/15021866.2016.1249708","DOIUrl":"https://doi.org/10.1080/15021866.2016.1249708","url":null,"abstract":"As literary scholars it is our profession to understand and interpret texts. We usually do this by reading them and then subsequently comparing them with other texts and analyzing those using established theories or contexts. As literary historians, however, we should also be able to detail their emergence, relate them to specific historical changes, and point to reasons for both their contemporary and later significance. Ibsen’s contemporary dramas are often read in light of Scandinavian literature’s Modern Breakthrough, and Ibsen is indeed the author from Georg Brandes’ book Det moderne g jennembruds Mænd [The Men of the Modern Breakthrough], published in 1883, who has since had the greatest success. But how do we understand or explain the success Ibsen eventually had with his contemporary dramas? When analyzing Ibsen, it must be emphasized that he wrote for two different markets; publishers aimed at selling books to a reading audience, and theaters aimed at selling tickets to an audience of spectators. These two markets followed their respective conventions and rules, which were often in conflict and changed significantly during Ibsen’s fifty years as a playwright. Of main concern were issues of copyright, provisions regarding honorariums or fees,","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2016.1249708","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953696","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: 6

Altering Henrik Ibsen’s Aura: Jon Fosse’s Suzannah 改变易卜生的光环：乔恩·福斯的苏珊娜

Ibsen Studies Pub Date : 2016-07-02 DOI: 10.1080/15021866.2016.1251740

Kyle Korynta

{"title":"Altering Henrik Ibsen’s Aura: Jon Fosse’s Suzannah","authors":"Kyle Korynta","doi":"10.1080/15021866.2016.1251740","DOIUrl":"https://doi.org/10.1080/15021866.2016.1251740","url":null,"abstract":"In anticipation of Ibsenåret 2006, the Ibsen Year, Jon Fosse wrote a drama on the private life of “the father of modern drama” and his wife. Suzannah, written in 2003, is based on the known historical information about the private lives of the Ibsens; yet since much of this knowledge was lost when Suzannah burned their personal correspondence after Ibsen’s death, Fosse fills in the gaps of historical information with possible scenarios. Instead of taking the form of a modernist crime-fiction novel in which the suspect is unknown, Suzannah is a postmodernist “anti-crime” drama since we immediately know who committed the “crime” and we search for something that cannot be found or “solved”: the contents of the letters and the reasons why she burned them. Fosse presents the history of Ibsen, an influential modern playwright, in a postmodernist way; Ibsen never appears on stage and Suzannah is fragmented into three characters, each of which represents a different stage in the Ibsens’ life together. Fosse’s three Suzannahs serve as mouthpieces for Fosse to comment on and critique the Ibsens’ private life. In addition, Fosse alters Ibsen’s retrospective technique by having the Suzannahs narrate their experiences in present time as opposed to recalling their memories. The Suzannahs’ overlapping narration creates an overall experience of clues being reported at the scene of a crime or in cultural archives. Fosse’s fictitious account of the Ibsens’ private life shows a juxtaposition of, and a clash between, historical “fact” and fictional story. This approach allows Fosse to replace a totalizing modernist presentation of the Ibsens’ history with a fragmented postmodernist one, an approach that seeks to alter the traditional","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2016.1251740","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953729","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

A Caprice – The Summit of Ibsen’s Theatrical Career 一次任性——易卜生戏剧生涯的巅峰

Ibsen Studies Pub Date : 2016-07-02 DOI: 10.1080/15021866.2016.1263445

E. Svarstad, Jon Nygaard

{"title":"A Caprice – The Summit of Ibsen’s Theatrical Career","authors":"E. Svarstad, Jon Nygaard","doi":"10.1080/15021866.2016.1263445","DOIUrl":"https://doi.org/10.1080/15021866.2016.1263445","url":null,"abstract":"Erik Bøgh’s A Caprice (En Kaprice) premiered 7 September 1859 at the Norwegian Theatre in Christiania (Oslo), staged by theatre manager Henrik Ibsen. The production then ran for another 35 performances during the 1859–1860 season. In relation to the population of the town, this is by far the greatest box-office success in the history of regular theatres in Norway. No wonder that Michael Meyer understood A Caprice as the ultimate example of the unholy trade Ibsen was forced into as a theatre manager. According to Meyer, in staging A Caprice Ibsen was for the only time in his life “rebuked for truckling to the box-office” (Meyer 1971, 166). The contemporary criticism claimed that Ibsen, by staging A Caprice and other dance performances, was reducing the Norwegian Theatre in Christiania to a kind of amusement park for the lower classes (Morgenbladet Nr. 278, 9.10.1859). Contrary to prevailing opinion, we will in the following present A Caprice as the summit of Ibsen’s theatrical career and underline that both this and other dance productions staged by Ibsen in this period were not at all mere amusement for the lower classes but instead important expressions of artistic creativity and development.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2016.1263445","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953790","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

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

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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

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