Pub Date : 2015-01-02DOI: 10.1080/15021866.2015.1099862
Ellen Rees
Introduction Erik Bjerck Hagen is an engaging and often polemical scholar committed to a narrative about the study of literature in which – essentially – little scholarship of value is produced after 1970, or better yet after World War II. In his latest book, he sets out to prove this in relation to Ibsen scholarship. The core of his argument is that scholars who attempt to use critical theory to interpret Ibsen add nothing substantive to what we already know through the insights and hard work of earlier critics and scholars. Hagen points out that Hvordan lese Ibsen? is “like mye en bok om norsk forskningsog kritikkhistorie som om Ibsen” (9) [just as much a book about the history of Norwegian research and criticism as about Ibsen]. This is an ambitious claim that requires extensive empirical data and careful analysis to support. The book’s greatest strength is that it unearths a great deal of insightful Ibsen criticism that, as Hagen rightly points out, contemporary scholars have neglected or ignored for far too long. Hagen chooses five of Ibsen’s works and then dedicates a chapter to each, in which he establishes an interpretive consensus for the play in question, and then discusses a handful of theory-informed readings of it that he views as misguided. The methodological problems with this approach should be glaringly obvious. The four post1970 analyses of A Doll House that Hagen chooses to engage with, for example, are in no way representative; they are simply four analyses with which Hagen happens to disagree. His critiques of the scholarship are in many cases insightful, interesting, and always engagingly written, but to extrapolate further that this says anything meaningful about the state of Norwegian Ibsen scholarship as a whole after
Erik Bjerck Hagen是一位引人入胜且经常争论不休的学者，他致力于文学研究的叙事，而在1970年之后，或者更好的是在二战之后，几乎没有什么有价值的学术成果产生。在他的最新著作中，他试图通过易卜生的研究来证明这一点。他的论点的核心是，那些试图用批判理论来解释易卜生的学者，对我们通过早期批评家和学者的见解和辛勤工作已经知道的东西，没有任何实质性的补充。哈根指出，赫渥丹是易卜生吗?“就像我从挪威学来的关于skningsog kritikkhistorie some Ibsen的书”(9)[既是一本关于易卜生的书，也是一本关于挪威研究和批评的历史的书]。这是一个雄心勃勃的主张，需要大量的实证数据和仔细的分析来支持。这本书最大的优势在于，它揭示了易卜生的大量富有洞察力的批评，正如哈根正确指出的那样，当代学者已经忽视或忽视了太长时间。哈根选择了易卜生的五部作品，然后用一章的篇幅来介绍每一部作品，在这一章中，他为有问题的戏剧建立了一种解释共识，然后讨论了一些他认为被误导的理论知识解读。这种方法的方法论问题应该是显而易见的。例如，哈根选择参与的1970年后对《玩偶之家》的四次分析，绝不具有代表性;它们只是黑根碰巧不同意的四种分析。他对学术的评论在很多情况下都很有见地，有趣，而且总是写得很吸引人，但进一步推断，这说明了挪威易卜生学术的整体状态
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Pub Date : 2014-07-03DOI: 10.1080/15021866.2014.998046
L. Senelick
Flying into Moscow from the West in the Soviet era, one could see the city ringed round by a green belt. This was the Khimki Forest, an immemorial woodland of old-growth birch trees that harbored a dense ecology of flora and fauna. Nowadays the passenger sees the forest pocked by the roofs of Mcmansions, built by oligarchs in defiance of zoning laws or natural topography. What’s worse, a highway to St Petersburg has been projected, evoking mass protest on environmental grounds. The project was suspended in 2010, but not before Mikhail Beketov, a crusading investigative reporter, was severely beaten, losing one leg and four fingers as a result. Beketov died in Khimki on 8 April 2013 of cardiac arrest, a belated result of the attack. Three weeks later, the first Russian production of An Enemy of the People in over a century opened at the Mayakovsky Theatre in Moscow. The poster displayed a Victorian gentleman in a morning coat and top hat, wearing a gas mask. It signaled that the production would be a provocation. The title itself was a challenge. Konstantin Stanislavsky’s production of 1901 had been called, less provocatively, Doctor Stockmann. “Enemy of the people” (vrag naroda), originally a Jacobin term of abuse, was revived by Lenin in 1917 to tar the Constitutional Democratic Party. The aspersion was cast far and wide by Stalin during the agrarian collectivization movement of the early 1930s to attack “kulaks,” recalcitrant peasants, and again during the purges of 1937. The accused were made to denounce themselves and others as enemies of the people, an accusation constantly repeated in the charge sheets. In a Russian context, it is heavily freightedwith sinister connotations. Ibsen Studies, 2014 Vol. 14, No. 2, 91–108, http://dx.doi.org/10.1080/15021866.2014.998046
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Pub Date : 2014-07-03DOI: 10.1080/15021866.2014.999456
Giuliano D’Amico
The present book is a biographical dictionary of Henrik Ibsen's letters, based on volumes XII–XV of the new edition of his collected writings, Henrik Ibsens Skrifter (HIS, 2005–2010). It groups tog...
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Pub Date : 2014-07-03DOI: 10.1080/15021866.2015.1005904
Julia A. Walker
In the fall of 1869, Henrik Ibsen represented Norway at the ceremonies marking the inauguration of the Suez Canal. As a seafaring nation with a robust shipping economy, Norway had strong interests in the success of this unprecedented engineering feat whereby 98 miles of inland desert was cut away, creating an unbroken passageway between European ports with access to the Mediterranean Sea and Eastern ports beyond the Red Sea. Ibsen, ever flattered by official forms of recognition, was happy to attend, finding himself in the company of other cultural luminaries, such as Théophile Gautier and Émile Zola among the 1600 guests in attendance (Farnie 1969, 83–87). Aside from his diary and a few poems, Ibsen wrote very little that explicitly addressed the Canal and his experiences in Egypt. Shortly thereafter, however, he completed his monumental Emperor and Galilean (1873) and sketched out notes for Pillars of Society (1877), plays that would mark a stylistic break with the poetic dramas of his early career and set the template for the realistic prose plays that announced the arrival of modern drama. Although critics have traditionally understood Ibsen’s stylistic shift to have been prompted by his intense intellectual exchange with the Danish critic Georg Brandes (see, e.g., Styan 1981, 19), I argue that it was also prompted by his experiences in Egypt. After all, Brandes’s Main Currents in Nineteenth Century Literature (1871), with its imperative to address the social problems of the day, explains only the shift in subject matter that distinguishes Ibsen’s late from his early plays. It does not account for the development of his modernist dramatic form. Recent critics have attributed Ibsen’s stylistic shift to his break with idealist esthetics, finding both narrative and formal evidence to Ibsen Studies, 2014 Vol. 14, No. 2, 136–166, http://dx.doi.org/10.1080/15021866.2015.1005904
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Pub Date : 2014-07-03DOI: 10.1080/15021866.2014.1000659
K. Gjesdal
Henrik Ibsen’s An Enemy of the People (1882) has had an unusual reception. Following A Doll’s House (1879) andGhosts (1881), plays that were scandalized upon performance only to be counted, relatively soon, among Ibsen’s most important works, An Enemy of the Peoplewas caught up by history in a different way. While the play has, no doubt, enjoyed bouts of popularity – including the many stagings that followed in thewake of its publication – late twentieth-centurycritics have worried about the political implications of Dr. Stockmann’s elitism and sometimes even compared it to the rhetoric of the later Nationalist Socialistmovement inGermany (Sage 2006, 3–5, 310–311; Ferguson 1996, 280ff ). The kind of elitist sentiments Dr. Stockmann airs inAn Enemy of the People are often associated with the teaching of Friedrich Nietzsche. Nietzsche’s work was much debated and discussed in Scandinavia when Ibsen was working on the play. Thus, critics have emphasized how Ibsen’s play resonates with a kind of aristocratic pathos that is not unlike the onewe find inwork of theGerman philosopher.While such a reading was prefigured in an essay by Anathon Aall at the beginning of the Twentieth Century, we findmore recent versions of the argument in works by Noreng (1969), de Figueiredo (2007) and Kittang (2005). In his reading ofAn Enemy of the People, Kittang speaks Ibsen Studies, 2014 Vol. 14, No. 2, 109–135, http://dx.doi.org/10.1080/15021866.2014.1000659
易卜生的《人民公敌》(1882)受到了不同寻常的欢迎。继《玩偶之家》(1879)和《鬼》(1881)两部剧之后，《人民公敌》(An Enemy of the people)以一种不同的方式被历史所关注，这两部剧在表演上受到了谴责，但很快就被列入易卜生最重要的作品之列。毫无疑问，这部戏剧受到了广泛的欢迎，包括在它出版后的许多舞台上，20世纪末的评论家们担心斯托克曼博士的精英主义的政治含义，有时甚至将其与后来的德国民族社会主义运动的修辞相比较(Sage 2006, 3-5, 310-311;Ferguson 1996, 280ff)。斯托克曼博士在《人民公敌》中所宣扬的那种精英主义情绪，常常与弗里德里希·尼采的学说联系在一起。当易卜生创作这部戏剧时，尼采的作品在斯堪的纳维亚引起了很多争论和讨论。因此，评论家们强调易卜生的戏剧是如何与一种贵族的悲怆产生共鸣的，这种悲怆与我们在这位德国哲学家的作品中发现的悲怆并没有什么不同。虽然在20世纪初，Anathon Aall在一篇文章中预言了这种解读，但我们在Noreng(1969)、de Figueiredo(2007)和Kittang(2005)的作品中发现了这种观点的最新版本。《易卜生研究》，2014年第14卷第2期，109-135页，http://dx.doi.org/10.1080/15021866.2014.1000659
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Pub Date : 2014-01-02DOI: 10.1080/15021866.2014.937152
Jens-Morten Hanssen
Henrik Ibsen is, without a doubt, an icon in the modern, secular sense of the term. One effect of his iconic standing is a recent trend within the tradition of Ibsen in performance. Ibsen is no longer just a playwright. An Ibsen production is not necessarily a staging of a play written by him. It may as well be a staging of a play written – or “pieced together” – by someone else, the plot of which is based on events in Ibsen’s life or the design of which is based on Ibsen’s works. Understandably, Ibsen may in these productions occasionally appear as a dramatic figure, as himself. In the past three decades, this trend has increased in volume, with a preliminary peak in the Ibsen Year 2006. The phenomenon is not at all restricted to Norway. Since 2006, productions like this have been traced in Norway, Mexico, USA, Italy, Argentina, Germany, England, Bangladesh, Japan, Canada, Spain, Sweden and China. The Ibsen character in these productions, if there is one, fulfils a number of dramaturgical functions. He may be portrayed in the form of a doll, a statue, a mute, an actor or an actress with lines of dialogue, of young or old age, thick or thin, tall or small. However, despite the diversity in the physical shaping of the Ibsen character, theatre audiences all over the world recognize the character as Ibsen within a fraction of a second when he enters the stage because of the activation of a set of simple, iconographic elements: whiskers, top hat, overcoat, glasses. When did Ibsen turn into an icon? In his latest book, Ibsen og fotografene, Peter Larsen investigates the phenomenon on the basis of photographs of Ibsen. Scrutinizing all extant portrait Ibsen Studies, 2014 Vol. 14, No. 1, 52–70, http://dx.doi.org/10.1080/15021866.2014.937152
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Pub Date : 2014-01-02DOI: 10.1080/15021866.2014.937921
H. O. Andersen
Could Peer Gynt be read as a satiric response to A.O. Vinje's Travel Memoirs from the Summer of 1860 [Ferdaminne fra sumaren 1860] (1861)?With a text as rich, intricate and in many ways ahead of it...
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Pub Date : 2014-01-02DOI: 10.1080/15021866.2014.937153
Kamaluddin Nilu
In this article, I will focus on the transformation process taking place within what I earlier have called complex forms of cultural encountering within theatre, that is, when a text from one culture is blended with a theatrical form from another culture. In the example used, the encounter is between Ibsen’s text, Ghosts (Gengangere) and a folk theatrical form of Bangladesh called Kushan Gan. Kushan Gan is a genre of popular performance in which episodes from the Ramayana are mostly enacted. It is performed during religious festivals of various deities including Kali, Bhagavati (Durga), Laksmi, Jagaddhatri and Saraswati. It is usually performed in the temple precinct or in the outer courtyard of homesteads. Kushan Gan is further described in Syed Jamil Ahmed’s Achinpakhi Infinity: Indigenous Theatre of Bengal (2000, 61–62). It is important to note that the production was made by traditional artists for a local audience. I will argue that the encountering process can be analysed by making use of the three-step approach of separation, replacement and incorporation. Through this process, the traditionally religious content of the particular folk form is replaced by a secular and reinterpreted Ibsen text which is presented through the artistic expression typical for this art form. In this way, Ibsen’s text becomes purely localised and clearly also political.
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Pub Date : 2014-01-02DOI: 10.1080/15021866.2014.937151
Giuliano D’Amico
One of the postulates of literary comparison [ . . . ] is that an identity or kinship can be established between literary objects that are far removed in time and space [ . . . ], or between different national productions and traditions. In all such cases, nations and national spaces are viewed as distinct ensembles, closed in on themselves, entities that are irreducible to one another yet produce, on the basis of an autarchic specificity, literary objects that are more or less comparable. (2007, 214)
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Pub Date : 2013-11-01DOI: 10.1080/15021866.2013.849033
Narve Fulsås
In 1882 Georg Brandes wrote a portrait of Ibsen in which he stated that the author had been born “i smaa og fattige Forhold i en lille norsk By” [in petty and poor circumstances in a small Norwegian town]. The portrait was later included in Brandes’ Det moderne Gjennembruds Mænd (1883). Thanking Brandes for the portrait, Ibsen could not resist commenting on what he took to be a devaluation of his background:
1882年，乔治·布兰德斯(Georg Brandes)为易卜生写了一幅肖像，他在肖像中写道，易卜生出生在“i smaa og fattige Forhold i en lille norsk By”(挪威一个小镇的小家庭)。这幅画像后来被收录在布兰德斯的《现代Gjennembruds Mænd》(1883)中。易卜生感谢布兰德斯为他画了这幅画，并忍不住评论说，他认为这是对自己背景的贬低:
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