Pub Date : 2023-11-01DOI: 10.1080/15021866.2023.2268354
Ellen Rees
{"title":"A Brief History of the Centre for Ibsen Studies","authors":"Ellen Rees","doi":"10.1080/15021866.2023.2268354","DOIUrl":"https://doi.org/10.1080/15021866.2023.2268354","url":null,"abstract":"","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"5 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135325997","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}
Pub Date : 2023-10-26DOI: 10.1080/15021866.2023.2268355
Giuliano D’Amico
{"title":"A Short History of Ibsen Reception Studies","authors":"Giuliano D’Amico","doi":"10.1080/15021866.2023.2268355","DOIUrl":"https://doi.org/10.1080/15021866.2023.2268355","url":null,"abstract":"","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134909824","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}
Pub Date : 2023-10-25DOI: 10.1080/15021866.2023.2268357
Jens-Morten Hanssen
Click to increase image sizeClick to decrease image size DISCLOSURE STATEMENTNo potential conflict of interest was reported by the author.Additional informationNotes on contributorsJens-Morten HanssenJens-Morten Hanssen, Head of Section at The National Library of Norway, Oslo, Norway. E-mail: jens.hanssen@nb.no
{"title":"The Rise of Digital Humanities Approaches to Ibsen Studies","authors":"Jens-Morten Hanssen","doi":"10.1080/15021866.2023.2268357","DOIUrl":"https://doi.org/10.1080/15021866.2023.2268357","url":null,"abstract":"Click to increase image sizeClick to decrease image size DISCLOSURE STATEMENTNo potential conflict of interest was reported by the author.Additional informationNotes on contributorsJens-Morten HanssenJens-Morten Hanssen, Head of Section at The National Library of Norway, Oslo, Norway. E-mail: jens.hanssen@nb.no","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"145 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135166081","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}
Pub Date : 2023-01-02DOI: 10.1080/15021866.2023.2214996
Patrick Ledderose
Attending a performance of Henrik Ibsen’s John Gabriel Borkman (1896) directed by Vegard Vinge and Ida M€ uller in Berlin in 2012 required one thing in particular: time. The show, which could last up to twelve hours, often started with a scene that was both simple as well as brilliant: dressed in a devil’s costume, Vinge counted up from one as long as he wanted while the spectators had to endure his tedious and indulgent counting, sometimes for more than an hour before something happened and the stage finally changed. With this beginning the main theme of the performance was firmly set: the experience of time. Vinge’s and M€ uller’s interpretation of John Gabriel Borkman, as radical as it was, seems logical as it takes up a commonplace in Ibsen studies. Since Peter Szondi, who explained the epic tendencies of John Gabriel Borkman as indicative of a crisis of the drama, time has played a decisive role in many other interpretations of the text. These include some interesting approaches that have refined and expanded one of Szondi’s main theses, namely that the analysis of the past fails in the play, since “it is not individual events that stand in the foreground, neither is it their motivation, but time itself” (Szondi and Hays 1983, 201). For instance, Fritz Paul conceives of time as a leitmotif of the text (Paul 1969, 80 ff.); Vigdis Ystad, referring to both Szondi and Paul, identifies “the mythology of time” as the real theme of the text (Ystad 1997, 56); Frode Helland’s investigation concludes without limitation that the play is “characterized by a stiffening of time” (Helland 2000, 303); Eli Park Sørensen shows that the text “explores the time after traditional drama has come to an end”
2012年，在柏林观看由维加德·文奇和艾达·穆勒导演的亨里克·易卜生的《约翰·加布里埃尔·博克曼》(1896)的演出，特别需要一件事:时间。这场长达12个小时的演出通常以一个既简单又精彩的场景开始:文奇穿着魔鬼的服装，从1开始数到他想数多久就数多久，而观众不得不忍受他乏味而放纵的数数，有时要数一个多小时才会有事情发生，舞台最终才会改变。从这个开始，演出的主题就确定下来了:时间的体验。文奇和穆勒对约翰·加布里埃尔·博克曼(John Gabriel Borkman)的解释虽然激进，但在易卜生研究中占据了一个司空见惯的位置，这似乎是合乎逻辑的。自从彼得·桑迪将约翰·加布里埃尔·博克曼的史诗倾向解释为戏剧危机的标志以来，时间在许多其他文本的解释中起着决定性的作用。其中包括一些有趣的方法，这些方法完善和扩展了Szondi的主要论点之一，即对过去的分析在剧中失败了，因为“站在前景中的不是个别事件，也不是它们的动机，而是时间本身”(Szondi和Hays 1983,201)。例如，弗里茨·保罗认为时间是文本的主题(保罗1969,80 ff);Vigdis Ystad提到了Szondi和Paul，将“时间的神话”确定为文本的真正主题(Ystad 1997,56);Frode Helland的调查毫无限制地得出结论，该剧“以时间僵硬为特征”(Helland 2000, 303);Eli Park Sørensen认为文本“探索了传统戏剧走向终结后的时代”。
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Pub Date : 2023-01-02DOI: 10.1080/15021866.2023.2214997
R. Farhadi
The drama of Henrik Ibsen has been very influential in promoting social and realistic playwriting in Iranian theater since its introduction in the early twentieth century. Ibsen’s topoi of dysfunctional family connections, the woman question, enlightenment, to name a few have had a lasting impact on modern Iranian dramatists. In her study of Ibsen in Iranian theater, Farindokht Zahedi (2006) traces the arrival of the Norwegian playwright in Iran to the performance practice of Armenian troupes in northwestern Iran in the early twentieth century, particularly that of Hovans Abelian (1865–1936), who staged An Enemy of the People in Armenian in the city of Tabriz in 1909 to both Armenian and Iranian audiences. In a short span of time, Ibsen gained considerable prominence among Iranians and by the 1940s his plays were translated to and staged in Persian across the country, especially in the cities of Tabriz, Tehran, and Isfahan. A primary reason behind Ibsen’s warm reception among Iranians is that Ibsen’s social drama could offer Iranian playwrights and theater producers a critical engagement in the “cultural and social circumstances” of their contemporary society (May 1985, 30). This Iranian reception coincided with a faltering economy and poverty as the result of dramatic changes in civil and political structures. A significant factor in cultural change
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Pub Date : 2023-01-02DOI: 10.1080/15021866.2023.2215000
Farid Manouchehrian
When in 1884 Henrik Ibsen expressed his support of a bill presented to the Norwegian parliament proposing “separate property rights for married women,” he famously commented that “to consult men in such a matter is like asking wolves if they desire better protection for the sheep” (1964, 227–228). By the time that Ibsen was strongly advocating for the women’s property bill, he had already written A Doll’s House (1879) in which Nora had to leave home to gain her autonomy, not Torvald. However, she did not have a home of her own to take refuge in. After the meeting in 1884 when Ibsen signed the petition in favor of women’s property rights, he went on to portray women such as Rebecca West, Ellida and Bolette Wangel, and Hedda Gabler who were also financially dependent on male protagonists and trapped in either their father’s or husband’s home. While Toril Moi correctly asserts that women “admired Ibsen’s heroines for claiming their right to an independent life of the mind,” it is worth noting that none of these characters were financially independent, nor had they any property (2021, 91). While they tried to proclaim their emancipation, they were still financially dependent on men to support them. Women’s financial subordination, as a result, would reassure men that women’s autonomy is limited, especially for those who keep an eye on their husband’s purse strings. Torvald’s relationship with Nora is corroborative evidence in this regard.
{"title":"The Master’s Fall: The Fall of the Bourgeoisie Through the Fall of Patriarchy","authors":"Farid Manouchehrian","doi":"10.1080/15021866.2023.2215000","DOIUrl":"https://doi.org/10.1080/15021866.2023.2215000","url":null,"abstract":"When in 1884 Henrik Ibsen expressed his support of a bill presented to the Norwegian parliament proposing “separate property rights for married women,” he famously commented that “to consult men in such a matter is like asking wolves if they desire better protection for the sheep” (1964, 227–228). By the time that Ibsen was strongly advocating for the women’s property bill, he had already written A Doll’s House (1879) in which Nora had to leave home to gain her autonomy, not Torvald. However, she did not have a home of her own to take refuge in. After the meeting in 1884 when Ibsen signed the petition in favor of women’s property rights, he went on to portray women such as Rebecca West, Ellida and Bolette Wangel, and Hedda Gabler who were also financially dependent on male protagonists and trapped in either their father’s or husband’s home. While Toril Moi correctly asserts that women “admired Ibsen’s heroines for claiming their right to an independent life of the mind,” it is worth noting that none of these characters were financially independent, nor had they any property (2021, 91). While they tried to proclaim their emancipation, they were still financially dependent on men to support them. Women’s financial subordination, as a result, would reassure men that women’s autonomy is limited, especially for those who keep an eye on their husband’s purse strings. Torvald’s relationship with Nora is corroborative evidence in this regard.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"23 1","pages":"135 - 162"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47879843","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}
Pub Date : 2023-01-02DOI: 10.1080/15021866.2023.2214999
Joachim Schiedermair
If you want to explore the topic of peripeteia or turning points as a literary scholar, you will find a very promising subject in the genre of the history play. For in a history play two types of turning points intersect; one could perhaps find in this crossroad the characteristic that makes a history play a history play. On the one hand, there is the peripeteia which, according to the founding text of drama analysis, structures every play. In Poetics, Aristotle presents the peripeteia as a category for building meaning through narratives. It denotes the turning point in a tragedy, the moment at which it becomes obvious that what was expected in the fictional world depicted on stage will not happen. The turnaround redefines every single element of the story and by this re-definition it shows connections between these elements, connections that were not obvious so far or did not exist before. Only the peripeteia binds all the elements that are represented on the stage, together into a whole: “A whole is that which has a beginning, a middle, and an end... . A well-constructed plot, therefore, must neither begin nor end at haphazard” (Aristotle 1951, 145b). If drama as a genre gains its narrative cohesion through the peripeteia, then this is all the truer for the history play. When selecting historical material, the author will search history books for those moments that support the construction of their plot, that is, such moments that have already been canonised as key events in history: turning points or catastrophes, political crises, decisive battles, the signing of an agreement of great significance, reformations or revolutions. Aristotle’s structural peripeteia will
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Pub Date : 2023-01-02DOI: 10.1080/15021866.2023.2215002
Jørgen Haave
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