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
{"title":"Theatrical Adaptation of Ibsen’s An Enemy of the People in Iran: The Intellectual and Modernity in Akbar Radi’s The Decline","authors":"R. Farhadi","doi":"10.1080/15021866.2023.2214997","DOIUrl":"https://doi.org/10.1080/15021866.2023.2214997","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47668173","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: 10.1080/15021866.2023.2215000
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":null,"pages":null},"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: 10.1080/15021866.2023.2215002
Jørgen Haave
{"title":"I Skyggen av Ibsen. Dikterens unge kvinner. En historie om kunst, makt og BEGJÆR","authors":"Jørgen Haave","doi":"10.1080/15021866.2023.2215002","DOIUrl":"https://doi.org/10.1080/15021866.2023.2215002","url":null,"abstract":"","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46961361","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
{"title":"Peripeteia: Ibsen’s History in Hedda Gabler and the Pretenders","authors":"Joachim Schiedermair","doi":"10.1080/15021866.2023.2214999","DOIUrl":"https://doi.org/10.1080/15021866.2023.2214999","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49576340","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: 10.1080/15021866.2023.2214998
Magnus H Sandberg
Henrik Ibsen’s drama Peer Gynt (1867) has been adapted for a video game. While it is meant for educational use and has already been launched on a Norwegian publisher’s school site, its learning mechanics are subtle enough that the game will also be offered in the entertainment market as a narrative adventure game (The Peer Gynt Game, n.d.). An adaptation of a written play as a video game implies that new modes of storytelling are being introduced, as well as a degree of agency for the players. The capability for this medium to adapt to and develop more traditional narrative expressions, considering their immense popularity and increased acknowledgement as works of art, makes video games an increasingly important area of study (Ensslin 2014; Kulturdepartementet 2019). This was part of the reasoning behind the decision to develop a video game version of Peer Gynt for students in secondary school. The project was initiated by Peer Gynt AS, the organizer of the annual Peer Gynt festival in Gudbrandsdalen district in Norway, where three of the play’s five acts are set. They were searching for new ways to introduce a new generation to the story world of Peer Gynt. Peer Gynt AS initiated a dialogue with the Norwegian publishing house Aschehoug, and later with game developers at Sarepta Studio in Hamar. This led to a
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Pub Date : 2022-10-31DOI: 10.1080/15021866.2022.2125214
Mariane Hansson
Eivind Tjønneland has already published several texts about Ibsen’s women, such as Rebekka West and Hedda Gabler, as well as other aspects of his work, such as modernity in Ibsen og moderniteten from 1993, symbolism in “Ibsen og symbolismen” from 2021, and the concept of bohemianism in “Bohembegrepet i norsk litteraturdebatt 1890” from 2021.” Tjønneland’s present volume studies the concept of decadence and literary representations of decadence both in general and in relation to the heroines in Ibsen’s plays. The main theme of the book is the connection between decadence and abnormality, especially as it is relevant to the women in Ibsen’s drama. Tjønneland gives a nuanced portrait of the author in his final years as seen through the critical reception of the time. Tjønneland focuses primarily on Norwegian critics but includes insights from Swedish, Danish, and German voices as well. In the twelve chapters of the book, he discusses “abnormal” female figures and theoretical perspectives on the Decadent Woman of the 1890s. In the first chapter he introduces what he refers to as Ibsen’s “abnormal” female characters, while in the second chapter he presents the decadent woman of 1890 before he, in the third chapter, investigates Hedda Gabler. In chapter four he presents how women were associated with “primitive races” in the 1890s, and then he brings up Hilde Wangel. In the sixth chapter he shows how Ibsen’s characters were seen as lacking Norwegian character, and in the seventh how the Norwegian literary historian Christen Collin saw decadent women as “morally abnormal fantasy children.” In chapter eight Tjønneland examines Rita Allmers and in chapter
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Pub Date : 2022-10-12DOI: 10.1080/15021866.2022.2125213
Agnete G. Haaland
No matter where or how Henrik Ibsen’s plays are performed, actors and directors bring their own aesthetic and cultural heritage into the rehearsal room. The fact that they are all part of a culture cannot be underlined enough. Or as the Ibsen researcher Frode Helland puts it, “we are all of culture, and we cannot speak from outside of it” (Helland 2015, 7). In 1998 I played Nora at the China National Experimental Theatre in Beijing in director Wu Xiaojiang’s A Doll’s House. (The theatre is now called National Theatre of China, NTC). In a press release from the theatre in 1998 I am quoted as follows:
{"title":"My Nora in Wu Xiaojiang’s A Doll’s House (1998): Aesthetic Transmission and Political Context","authors":"Agnete G. Haaland","doi":"10.1080/15021866.2022.2125213","DOIUrl":"https://doi.org/10.1080/15021866.2022.2125213","url":null,"abstract":"No matter where or how Henrik Ibsen’s plays are performed, actors and directors bring their own aesthetic and cultural heritage into the rehearsal room. The fact that they are all part of a culture cannot be underlined enough. Or as the Ibsen researcher Frode Helland puts it, “we are all of culture, and we cannot speak from outside of it” (Helland 2015, 7). In 1998 I played Nora at the China National Experimental Theatre in Beijing in director Wu Xiaojiang’s A Doll’s House. (The theatre is now called National Theatre of China, NTC). In a press release from the theatre in 1998 I am quoted as follows:","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48230006","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 : 2022-09-24DOI: 10.1080/15021866.2022.2125212
Connie Amundson
What does it mean to grow old? Are we destined to reach a peak of physical, mental, and social well-being at some relatively early age only to decline, either slowly or precipitously, toward death? Or are there surprising gifts to be had from aging, based on our inherent creativity, as it manifests in a myriad of ways throughout the latter half of life? From ancient Greek and Roman philosophy to contemporary conventional wisdom the former is favored, whereas age theorists in our contemporary time explore the latter. In the anglophonic world these concepts from age theory have been used, over the past twenty years, to examine plays and their performances. However, with the exception of Elinor Fuchs’s article, “Estragement: Towards an ‘Age Theory’ Theatre Criticism,” age theory has been largely ignored in scholarship about Norwegian drama (Fuchs 2014, 69). I aim to address this gap by exploring how age is represented in two Norwegian plays, Ibsen’s Peer Gynt (1867) and Jon Fosse’s Suzannah (2004), thereby arriving at an understanding of what Fuchs calls “the immensity of the conscious experience of age” (Fuchs 2014, 77). I understand this phrase to point to something about the accumulation of experience, understanding, and perhaps even wisdom among those who have lived a long life. My intent is to explore how Peer Gynt and Suzannah bring to our awareness something beyond, as Fuchs writes, “the discourse of normative life, where the failing body-as-decline numbly presides” (Fuchs 2014, 77). This potential for reading dramatic literature with particular attention to aging is highly available in these two plays which enact three ages of the eponymous characters.
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Pub Date : 2022-04-22DOI: 10.1080/15021866.2022.2063976
L. Xia
This proceeding comprises selected papers from the 5th International Conference on Materials and Manufacturing Engineering (ICMME-2020) at SRI CHANDRASEKHARENDRA SARASWATHI VISWA MAHAVIDYALAYA (SCSVMV), Kanchipuram, India. This book covers a wide range of topics within the materials and manufacturing disciplines. The content includes technical papers and review articles mainly focused in synthesis, development and characterization of new materials and machiningassociated studies on various materials. This book covers some of the recent advancements in the areas such as optimization techniques, computational fluid dynamics, tribology, alternate fuels, turbomachinery, renewable energy, thermal engineering and metal forming process. The collective expertise of the editorial team in a variety of aspects in the mechanical engineering field to manage the editorial process efficiently for providing a high-quality review process. Also, this book will be providing a technological and scientific platform for researchers, scientists, engineers and academicians seeking advancements in the area of materials and manufacturing engineering. List of Guest Editors, Committee, Keynote Speaker, Snap Shots in ICMME-2020, Conference Presentations are available in this pdf.
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