{"title":"前言","authors":"F. Helland","doi":"10.1080/15021866.2017.1408937","DOIUrl":null,"url":null,"abstract":"Ibsen’s 1869 comedy, The League of Youth, was highly successful on the Norwegian and Scandinavian stages during the author’s own lifetime. In prose, and through comedy, he deals with contemporary problems of a political, economic and social nature; a Norwegian provincial town is the setting for a play which aims at problematizing agonizing problems of the modern age. Even though this seems important and familiar enough to us today, this play is seldom read, written about or staged today. However, Klaus Müller-Wille, in his article “‘Spidsborgere i Blæst’ – Henrik Ibsen’s De unges Forbund and the Crisis of the Radical Political Imaginary”, aims to give a reading of the play that can bring forth the strong and topical, even provocative issues embedded in the play. Inspired by Cornelius Castoriadis’s concept of the political imaginary Müller-Wille clarifies the critique of a modern political culture, “the crisis of politics and history” in Ibsen’s world, still with us today. In order to reconstruct the “political and historical-philosophical implications of the play”, he also draws on the writings of Karl Marx and Søren Kierkegaard. Torbjørn Andersen’s article, “The Contemporary Reception of Little Eyolf and its Presentation in Henrik Ibsens Skrifter”, also focuses on Ibsen’s works and their immediate context. Andersen gives a thorough account of Little Eyolf ’s first phase of reception, highlighting many interesting aspects of the early discussion of the play, above all in Scandinavia. His rich material is important in itself, but it is also put to use in a well-balanced critique of the most “authoritative” account of the play’s reception today, namely the one presented in Henrik Ibsens skrifter (HIS, Henrik Ibsen’s Writings). Hence, he shows not only what is missing in the reception history given in HIS, but also reflects on the (lacking) editorial principles of HIS. His article, then, not only gives important new information about the reception of Little Eyolf, but also represents a contribution to the on-going discussion of the philological and editorial principles of large editions like this one.","PeriodicalId":0,"journal":{"name":"","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1408937","citationCount":"0","resultStr":"{\"title\":\"Preface\",\"authors\":\"F. Helland\",\"doi\":\"10.1080/15021866.2017.1408937\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Ibsen’s 1869 comedy, The League of Youth, was highly successful on the Norwegian and Scandinavian stages during the author’s own lifetime. In prose, and through comedy, he deals with contemporary problems of a political, economic and social nature; a Norwegian provincial town is the setting for a play which aims at problematizing agonizing problems of the modern age. Even though this seems important and familiar enough to us today, this play is seldom read, written about or staged today. However, Klaus Müller-Wille, in his article “‘Spidsborgere i Blæst’ – Henrik Ibsen’s De unges Forbund and the Crisis of the Radical Political Imaginary”, aims to give a reading of the play that can bring forth the strong and topical, even provocative issues embedded in the play. Inspired by Cornelius Castoriadis’s concept of the political imaginary Müller-Wille clarifies the critique of a modern political culture, “the crisis of politics and history” in Ibsen’s world, still with us today. In order to reconstruct the “political and historical-philosophical implications of the play”, he also draws on the writings of Karl Marx and Søren Kierkegaard. Torbjørn Andersen’s article, “The Contemporary Reception of Little Eyolf and its Presentation in Henrik Ibsens Skrifter”, also focuses on Ibsen’s works and their immediate context. Andersen gives a thorough account of Little Eyolf ’s first phase of reception, highlighting many interesting aspects of the early discussion of the play, above all in Scandinavia. His rich material is important in itself, but it is also put to use in a well-balanced critique of the most “authoritative” account of the play’s reception today, namely the one presented in Henrik Ibsens skrifter (HIS, Henrik Ibsen’s Writings). Hence, he shows not only what is missing in the reception history given in HIS, but also reflects on the (lacking) editorial principles of HIS. His article, then, not only gives important new information about the reception of Little Eyolf, but also represents a contribution to the on-going discussion of the philological and editorial principles of large editions like this one.\",\"PeriodicalId\":0,\"journal\":{\"name\":\"\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0,\"publicationDate\":\"2017-07-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/15021866.2017.1408937\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/15021866.2017.1408937\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/15021866.2017.1408937","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
易卜生1869年创作的喜剧《青年联盟》在他生前在挪威和斯堪的纳维亚的舞台上取得了巨大成功。在散文和喜剧中,他处理当代的政治、经济和社会问题;一出戏剧以挪威的一个省城为背景,旨在将现代社会令人苦恼的问题公布于世。尽管这对今天的我们来说很重要,也很熟悉,但今天很少有人读到、写到或上演这出戏。然而,Klaus miller - wille在他的文章《‘Spidsborgere i Blæst’——易卜生的《De unges Forbund》和激进政治想象的危机》中,旨在对这部剧进行解读,从而揭示出剧中蕴含的强烈的、热门的、甚至是挑衅性的问题。受卡斯特里亚迪斯的政治想象概念的启发,勒-威尔澄清了对现代政治文化的批判,即易卜生世界中的“政治与历史的危机”,至今仍与我们在一起。为了重建“这部戏剧的政治和历史哲学含义”,他还借鉴了卡尔·马克思和索伦·克尔凯郭尔的著作。托比约恩·安徒生的文章《小埃尔夫的当代接受及其在易卜生小说中的呈现》也关注易卜生的作品及其直接背景。安徒生对《小艾尔夫》第一阶段的接受做了详尽的描述,突出了该剧早期讨论的许多有趣方面,尤其是在斯堪的纳维亚半岛。他丰富的材料本身很重要,但它也被用于对当今最“权威”的戏剧接受情况的评论,即亨里克·易卜生的手稿(他,亨里克·易卜生的作品)中所呈现的一个评论。因此,他不仅展示了《他》所给予的接受史的缺失,而且对《他》的编辑原则(缺失)进行了反思。因此,他的文章不仅提供了关于《小埃尔夫》接受情况的重要新信息,而且还代表了对正在进行的关于像这样的大版本的语言学和编辑原则的讨论的贡献。
Ibsen’s 1869 comedy, The League of Youth, was highly successful on the Norwegian and Scandinavian stages during the author’s own lifetime. In prose, and through comedy, he deals with contemporary problems of a political, economic and social nature; a Norwegian provincial town is the setting for a play which aims at problematizing agonizing problems of the modern age. Even though this seems important and familiar enough to us today, this play is seldom read, written about or staged today. However, Klaus Müller-Wille, in his article “‘Spidsborgere i Blæst’ – Henrik Ibsen’s De unges Forbund and the Crisis of the Radical Political Imaginary”, aims to give a reading of the play that can bring forth the strong and topical, even provocative issues embedded in the play. Inspired by Cornelius Castoriadis’s concept of the political imaginary Müller-Wille clarifies the critique of a modern political culture, “the crisis of politics and history” in Ibsen’s world, still with us today. In order to reconstruct the “political and historical-philosophical implications of the play”, he also draws on the writings of Karl Marx and Søren Kierkegaard. Torbjørn Andersen’s article, “The Contemporary Reception of Little Eyolf and its Presentation in Henrik Ibsens Skrifter”, also focuses on Ibsen’s works and their immediate context. Andersen gives a thorough account of Little Eyolf ’s first phase of reception, highlighting many interesting aspects of the early discussion of the play, above all in Scandinavia. His rich material is important in itself, but it is also put to use in a well-balanced critique of the most “authoritative” account of the play’s reception today, namely the one presented in Henrik Ibsens skrifter (HIS, Henrik Ibsen’s Writings). Hence, he shows not only what is missing in the reception history given in HIS, but also reflects on the (lacking) editorial principles of HIS. His article, then, not only gives important new information about the reception of Little Eyolf, but also represents a contribution to the on-going discussion of the philological and editorial principles of large editions like this one.