Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1825104
Gianina Druță
The year’s second issue of Ibsen Studies takes the reader through a spatial, temporal, methodological and even generational journey in the Ibsen world from Milwaukee, Chicago and New York to Hong Kong, and from the beginning of the 20 century to the end of World War 2. Not only that, film, theatre and performance, Digital Humanities, literary studies and even economics meet in this landscape. Furthermore, this issue celebrates the debut of a new generation of Ibsen scholars, who bring to light new datasets and fresh perspectives from their doctoral research. Lars August Fodstad’s “Economic extensions in Space and Time: Mediating Value in Pillars of the Community and A Doll’s House” weaves together literature, economy and media history, focusing on the central role of money in Ibsen’s works. He demonstrates how the macroeconomic structures in Pillars of the Community are built on the relationship between time, information and money, whereas in the microeconomic household universe of A Doll’s House, risk management is connected, for example, with the private trading of the female body. Overall, Fodstad approaches the consequences of the characters’ financial behaviour as a way to thematise and highlight the importance of temporal and spatial displacement not only in Ibsen’s plays, but also in the modern drama in general. Svein Henrik Nyhus’s inquiry into “Ibsen in the GermanAmerican Theatre” exploits further the principle of spatial extension, but from a quantitative Digital Humanities and theatre historiographical perspective. The article draws on the author’s recently defended doctoral dissertation and focuses on the contribution of German immigrant communities to the breakthrough of Ibsen in America at the beginning of the 20 century, using the IbsenStage database as a starting point. It demonstrates the
今年的第二期《易卜生研究》带读者经历了从密尔沃基、芝加哥和纽约到香港，从20世纪初到第二次世界大战结束的易卜生世界的空间、时间、方法甚至代际之旅。不仅如此，电影、戏剧和表演、数字人文、文学研究甚至经济学都在这片土地上相遇。此外，本期庆祝新一代易卜生学者的首次亮相，他们从博士研究中揭示了新的数据集和新的视角。Lars August Fodstad的《空间和时间中的经济扩展：社区支柱和玩偶之家的中介价值》将文学、经济和媒体历史交织在一起，重点关注金钱在易卜生作品中的核心作用。他展示了《社区支柱》中的宏观经济结构是如何建立在时间、信息和金钱之间的关系之上的，而在《玩偶之家》的微观经济家庭世界中，风险管理与女性身体的私人交易有关。总的来说，Fodstad将人物财务行为的后果作为一种主题化的方式，并强调时间和空间位移的重要性，不仅在易卜生的戏剧中，而且在整个现代戏剧中。Svein Henrik Nyhus对“德国-美国剧院中的易卜生”的研究进一步利用了空间延伸的原则，但从定量的数字人文和戏剧史学的角度出发。本文借鉴了作者最近的博士论文，以易卜生阶段数据库为切入点，重点探讨了20世纪初德国移民社区对易卜生在美国取得突破的贡献。它展示了
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757301
Martina Wahlberg
Diderot devised what he himself perceived as a completely new kind of contemporary theater. This part of his output has been somewhat overshadowed by his more general contributions to the French Enlightenment. A huge interest in his Encyclop edie and in his highly experimental narrative prose developed in the 1950s and 1960s, alongside the rise of le nouveau roman (Fellows 1970, 96). Meanwhile, to this day, his crucial texts on theater remain largely inaccessible to modern readers unfamiliar with the French language. His plays are rarely put on by theaters, in contrast to his philosophical texts, which, paradoxically, are regularly staged (Frantz 2004, 36). His innovative drama and theater theory should, however, be of particular interest to the study of Ibsen’s contemporary plays, with which they resonate in arresting ways. A whole range of similarities will strike anyone who compares Ibsen’s contemporary plays with Diderot’s drama and writings on theater from the 1750s. The question of Ibsen’s turn towards a new form of contemporary drama at a rather late stage in his career has puzzled critics since his own lifetime. A common opinion is summed up by a student writing in the year after his death: ‘Ibsen is French Technic plus Northern Genius’ (Robbins 1907, 4). These two elements, the method of the well-made play as practiced by Scribe and his school, and a somewhat mysterious northern component, are echoed in scholarship throughout the twentieth century. In his seminal study Ibsen’s Dramatic Technique, P. D. F. Tennant
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757304
Thor Holt
This decade’s first issue of Ibsen Studies dives into what Franco Moretti named the “core” of literary Europe, with three articles exploring conjunctions and interconnections between Ibsen and influential currents in Germany, France, and Britain—both before and after Ibsen’s lifetime. In “The Struggle for Existence: Ibsen’s The Wild Duck (1884),” Lisbeth Pettersen Wærp reads The Wild Duck in light of Darwin’s notions of domesticated diversity. Wærp broadens the metaphorical resonance of the loft by exploring its many constituents, that is all the animals, as well as books, furniture, and other objects. Contrary to much existing Ibsen scholarship, she argues that Ibsen does not equate domestication with degeneration. Rather, she sees the loft as “a value-neutral image of existential struggle under differing prevailing conditions” that, in turn, reflects the Ekdal and Werle families in the play. In other words, the article asks us to envision how the characters are embedded in a complex psychosocial force field. Martin Wåhlberg takes on a less frequently explored topic in “Diderot, Ibsen, and the Drame lyrique in Scandinavia.” The article expands upon previous work by Erik Østerud and Toril Moi, and traces how French writer and philosopher Denis Diderot (1713–1784) anticipates key elements of Ibsen’s drama. As Robert Weimann asserts regarding the practice of intertextuality, texts feed off each other in multiple ways. Wåhlberg does not argue that the relation and relevance of Diderot to Ibsen is a matter of direct influence; still, striking similarities emerge from Wåhlberg’s comparative analysis. He points out the mix between tragedy and comedy, prose plays, contemporary topics, domestic settings, and retrospective techniques, to name a few. Wåhlberg identifies Ibsen as Diderot’s heir, the “genius to realize the full potential of his dramatic reform.” The article thus contributes to an understanding of how French literature both circulated in
这十年来的第一期《易卜生研究》深入研究了佛朗哥·莫雷蒂所称的欧洲文学的“核心”，其中三篇文章探讨了易卜生与德国、法国和英国的影响潮流之间的联系和相互联系——无论是在易卜生生前还是死后。在《生存的斗争:易卜生的野鸭》(1884)中，莉斯贝丝·佩特森(Lisbeth Pettersen w . rp)根据达尔文驯化多样性的概念来解读《野鸭》。Wærp通过探索阁楼的许多组成部分，即所有的动物、书籍、家具和其他物品，拓宽了阁楼的隐喻共鸣。与许多现有的易卜生学术相反，她认为易卜生并没有把驯化等同于退化。相反，她认为阁楼是“在不同的普遍条件下存在斗争的价值中立的形象”，而这反过来又反映了剧中的埃克达尔和维尔家族。换句话说，这篇文章要求我们设想角色是如何嵌入复杂的社会心理力场的。马丁·瓦格尔伯格在《狄德罗、易卜生和斯堪的纳维亚的戏剧抒情》一书中探讨了一个不太常被探讨的话题。本文扩展了Erik Østerud和Toril Moi之前的工作，并追溯了法国作家和哲学家Denis Diderot(1713-1784)如何预测易卜生戏剧的关键元素。正如罗伯特·魏曼(Robert Weimann)关于互文性的实践所断言的那样，文本以多种方式相互依存。瓦尔伯格并不认为狄德罗与易卜生的关系和相关性是一个直接影响的问题;尽管如此，wamathlberg的比较分析还是出现了惊人的相似之处。他指出了悲剧与喜剧、散文剧、当代主题、家庭背景和回顾技巧的结合，等等。瓦格尔伯格认为易卜生是狄德罗的继承人，是“实现了他戏剧性改革的全部潜力的天才”。因此，本文有助于理解法国文学是如何在中国流传的
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757302
Clemens Räthel
The last time I went to see Ibsen’s A Doll’s House (1879) staged in Berlin, I was taken by surprise that, afterwards, a colleague did not ask me how much, or even if, I liked the production or the ...
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757303
L. P. Wærp
Moreover, the symbolism of the wild duck is clearly influenced by Darwin, either by Darwin’s reports in Variations of Animals and Plants under Domestication (1868) about how wild ducks degenerate in captivity (Bull 1932, 23–24; Downs 1950, 148–149; Zwart 2000, 94–95), or, more probably, by the chapter on domestication and variation in On the Origin of the Species (1859), which was translated into Danish in 1872 (Aarseth 1999, 127–128, 2005, 6; Rem 2014, 163). In the literature it is underscored that in this play Ibsen foregrounds domestication as degeneration, whereas Darwin’s main point is that it leads to variation in the species (Tjønneland 1998; Zwart 2000; Aarseth 2005; Shepherd-Barr 2015; Rem 2014). What I will argue is (1) that Ibsen, or the play as a whole, does not equate domestication with degeneration, (2) that the key to the play is the total constellation of animals and birds in the loft, not just the duck, and (3) that the loft is a scenic metaphor for the struggle for existence fought within and between the two families. In this way the image of the loft, an image in which the characters in the drama are reflected,
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757298
T. Mohnike
Why should one set out today to prove the importance of Henrik Ibsen for the German stage and international modern theater? Hasn’t the subject been all too well researched for many years? At the oc...
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Pub Date : 2019-07-03DOI: 10.1080/15021866.2019.1656927
Franco Moretti, Ragnar Arntzen, G. B. Bjørnstad
With this issue of Ibsen Studies, we get back to basics, as it were, publishing two articles that each in their own way reconsider what we think we already know about Ibsen’s reception and about A Doll’s House respectively. In “Networks, Asymmetries and Appropriations: Toward a Typology,” Narve Fulsås and Tore Rem consolidate the major patterns in Ibsen’s European reception history. They identify four differing strategies for how Ibsen gained access to theatre and book markets outside of Scandinavia. Fulsås and Rem first give an account of the playwright’s own early attempts to gain access to the German market—what they call “self-initiated mediation”—, noting how quickly he lost control over the fate of his own work. They go on to explain the pattern of “imperial appropriation” in which France and Britain in particular appropriated Ibsen’s works “In ways which ultimately served to reaffirm the centrality of their own, hegemonic literature and culture” (pp. 65–87). In particular the English theatre critic Edmund Gosse actively campaigned to promote Ibsen as a means to strengthening his own status in the literary field. Fulsås and Rem label the third pattern they identify “radical appropriation,” explaining how Ibsen’s works were adapted and harnessed to serve a specific ideology. The most striking cases in this category are the reconceptualization of Ibsen as a socialist thinker, the appropriation of Ibsen for the feminist cause, and the French association of Ibsen with the avant garde theatre. Finally, Fulsås and Rem identify a pattern concerned with “faithful” appropriations of Ibsen, or, in other words, translations and adaptations of the plays that sought to be mindful of their original language and cultural context. Translator William Archer and the actresses Janet Achurch and Elizabeth Robins serve as the model for this pattern. Fulsås and Rem see these patterns as useful in identifying how literature is disseminated, and their article
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Pub Date : 2019-07-03DOI: 10.1080/15021866.2019.1640449
Narve Fulsås, Tore Rem
This is an Accepted Manuscript of an article published by Taylor & Francis in Ibsen Studies on 24 Jul 2019, available online: http://www.tandfonline.com/ https://doi.org/10.1080/15021866.2019.1640449 .
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