Pub Date : 2019-07-03DOI: 10.1080/15021866.2019.1640451
Anna Stavrakopoulou
In his 2015 monograph, Strindberg l’italiano – 130 anni di storia scenica (Edizioni di Pagina, Bari), Franco Perrelli covers the reception of the author in Italy from 1884 (which marks the visit of Strindberg to Italy) to 2014, in a chronological and most comprehensive way. In his recent volume, On Ibsen and Strindberg: The Reversed Telescope, he has published nine articles in English on the reception of either Ibsen or Strindberg, or both. While eight of these essays have been previously published, one of them, “Strindberg in the Italian Nineteenth-Century Theatrical Canon” was presented at the twentieth International Strindberg Conference in Krakow in 2017 and appears in print for the first time (Ch. 6, 65–76). In it Perrelli addresses key factors relating not only to Strindberg, but to theatrical reception at the end of the nineteenth century, in general, including the fame and impact of the actors involved, and the primary importance of the translations and adaptations undertaken for the stagings. Ermete Zacconi (1857–1948), who had gained fame playing Osvald in Ibsen’s Ghosts, played the Captain in The Father, “creating the illusion that his own gaze, voice and gestures were the character’s instead” (as quoted on 67–68, from Zacconi’s obituary in Il dramma in 1948). Perrelli offers a very detailed analysis of changed words (where for instance, “mineralogy” has been translated as “meteorology”, 70), lines and instructions, which proves beyond doubt that these early translations were meticulous adaptations to fit both the stars that staged them and the sensitivities of the receiving culture. Apart from touching upon the accuracy of the early translations, a topic that has not been thoroughly studied in a systematic manner in relation to Strindberg or Ibsen,
Franco Perrelli在其2015年的专著《意大利史》（Strindberg l’italiano–130 anni di storia scenica）（巴里，Edizioni di Pagina）中，以时间顺序和最全面的方式报道了作者从1884年（这标志着斯特林伯格访问意大利）到2014年在意大利的接待情况。在他最近出版的《论易卜生和斯特林堡：反向望远镜》一书中，他用英语发表了九篇关于易卜生或斯特林堡或两者的接收的文章。虽然其中八篇文章此前已发表，但其中一篇《斯特林堡在意大利十九世纪戏剧经典中》于2017年在克拉科夫举行的第二十届斯特林堡国际会议上发表，并首次出版（第6章，65-76页）。在这本书中，佩雷利不仅谈到了与斯特林堡有关的关键因素，还谈到了与19世纪末的戏剧接受度有关的主要因素，包括演员的名气和影响力，以及为舞台进行翻译和改编的首要重要性。埃尔米特·扎科尼（1857-1948）因在易卜生的《幽灵》中扮演奥斯瓦尔德而声名鹊起，他在《父亲》中扮演上尉，“制造了一种错觉，认为他自己的凝视、声音和手势是角色的”（引用自1948年扎科尼在《Il dramma》中的讣告，第67-68页）。Perrelli对变化的单词（例如，“矿物学”被翻译为“气象学”，70）、行和说明进行了非常详细的分析，这无疑证明了这些早期的翻译是精心改编的，既适合上演它们的明星，也适合接受文化的敏感性。除了涉及早期翻译的准确性之外，这个话题还没有以系统的方式对斯特林堡或易卜生进行彻底的研究，
{"title":"Franco Perrelli: On Ibsen and Strindberg: The Reversed Telescope","authors":"Anna Stavrakopoulou","doi":"10.1080/15021866.2019.1640451","DOIUrl":"https://doi.org/10.1080/15021866.2019.1640451","url":null,"abstract":"In his 2015 monograph, Strindberg l’italiano – 130 anni di storia scenica (Edizioni di Pagina, Bari), Franco Perrelli covers the reception of the author in Italy from 1884 (which marks the visit of Strindberg to Italy) to 2014, in a chronological and most comprehensive way. In his recent volume, On Ibsen and Strindberg: The Reversed Telescope, he has published nine articles in English on the reception of either Ibsen or Strindberg, or both. While eight of these essays have been previously published, one of them, “Strindberg in the Italian Nineteenth-Century Theatrical Canon” was presented at the twentieth International Strindberg Conference in Krakow in 2017 and appears in print for the first time (Ch. 6, 65–76). In it Perrelli addresses key factors relating not only to Strindberg, but to theatrical reception at the end of the nineteenth century, in general, including the fame and impact of the actors involved, and the primary importance of the translations and adaptations undertaken for the stagings. Ermete Zacconi (1857–1948), who had gained fame playing Osvald in Ibsen’s Ghosts, played the Captain in The Father, “creating the illusion that his own gaze, voice and gestures were the character’s instead” (as quoted on 67–68, from Zacconi’s obituary in Il dramma in 1948). Perrelli offers a very detailed analysis of changed words (where for instance, “mineralogy” has been translated as “meteorology”, 70), lines and instructions, which proves beyond doubt that these early translations were meticulous adaptations to fit both the stars that staged them and the sensitivities of the receiving culture. Apart from touching upon the accuracy of the early translations, a topic that has not been thoroughly studied in a systematic manner in relation to Strindberg or Ibsen,","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"127 - 130"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1640451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47405922","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 : 2019-07-03DOI: 10.1080/15021866.2019.1661128
Clare Glenister
Ibsen on Theatre is the third title to be published by Nick Hearn Books in the ...On Theatre Series. It follows Shakespeare on Theatre (2012), edited by Nick de Somogyi, and Chekhov on Theatre (2012), compiled by Jutta Hercher and Peter Urban, with translations by Stephen Mulrine. (n.b. Chekhov on Theatre was published first in Germany in 2004). Ibsen on Theatre (2018) is edited by Frode Helland and Julie Holledge, with translations by May-Brit Akerholt. The premise of ...On Theatre Series is, according to its own tagline, to show “[w]hat the world’s greatest dramatists had to say about theatre in their own words.” (p. ii) This it certainly does, albeit with certain variations of approach across the titles. There is insufficient space here for a detailed comparison of the three but it may be useful to highlight some of these variations. The first concerns language. The ...On Theatre Series is aimed at English-speaking readers so, to state the obvious, whilst the source texts in Shakespeare remain in the original, those in Chekhov and Ibsen are presented in translation. I am a little disappointed that nowhere in Ibsen on Theatre are play titles presented in Norwegian. In Chekhov on Theatre, on the other hand, transliterated Russian versions are offered (“Chaika”, “Dyadya Vanya”, “Tri sestry”, etc. pp. 228–237). The second concerns source materials. Shakespeare left no correspondence so the texts in this volume are drawn primarily from his plays and sonnets, supplemented by dramatic works and reminiscences by others. Chekhov, on the other hand, wrote a
《易卜生在剧院》是尼克·赫恩出版社在。。。关于戏剧系列。继尼克·德·索莫吉主编的《莎士比亚论戏剧》（2012年）和朱塔·赫彻和彼得·厄本主编的《契诃夫论戏剧》，斯蒂芬·穆林翻译。（《契诃夫戏剧论》于2004年在德国首次出版）。《易卜生在剧院》（2018）由Frode Helland和Julie Holledge编辑，May Brit Akerholt翻译。…的前提。。。根据《戏剧系列》本身的口号，它是为了展示“世界上最伟大的剧作家用他们自己的话对戏剧的评价”。这里没有足够的空间来详细比较这三种情况，但强调其中的一些变化可能会很有用。第一个问题涉及语言。这个《戏剧系列》是针对英语读者的，因此，显而易见的是，虽然莎士比亚的源文本仍然是原作，但契诃夫和易卜生的源文本是翻译的。我有点失望的是，易卜生剧院里没有用挪威语呈现的戏剧名称。另一方面，在契诃夫戏剧中，提供了音译的俄语版本（“Chaika”、“Dyadya Vanya”、“Tri-setry”等，第228–237页）。第二个问题涉及原始材料。莎士比亚没有留下任何信件，因此本卷的文本主要来自他的戏剧和十四行诗，辅以其他人的戏剧作品和回忆。另一方面，契诃夫写了
{"title":"Frode Helland and Julie Holledge (editors): Ibsen on Theatre, with new translations of Henrik Ibsen’s writings by May-Brit Akerholt and a foreword by Richard Eyre","authors":"Clare Glenister","doi":"10.1080/15021866.2019.1661128","DOIUrl":"https://doi.org/10.1080/15021866.2019.1661128","url":null,"abstract":"Ibsen on Theatre is the third title to be published by Nick Hearn Books in the ...On Theatre Series. It follows Shakespeare on Theatre (2012), edited by Nick de Somogyi, and Chekhov on Theatre (2012), compiled by Jutta Hercher and Peter Urban, with translations by Stephen Mulrine. (n.b. Chekhov on Theatre was published first in Germany in 2004). Ibsen on Theatre (2018) is edited by Frode Helland and Julie Holledge, with translations by May-Brit Akerholt. The premise of ...On Theatre Series is, according to its own tagline, to show “[w]hat the world’s greatest dramatists had to say about theatre in their own words.” (p. ii) This it certainly does, albeit with certain variations of approach across the titles. There is insufficient space here for a detailed comparison of the three but it may be useful to highlight some of these variations. The first concerns language. The ...On Theatre Series is aimed at English-speaking readers so, to state the obvious, whilst the source texts in Shakespeare remain in the original, those in Chekhov and Ibsen are presented in translation. I am a little disappointed that nowhere in Ibsen on Theatre are play titles presented in Norwegian. In Chekhov on Theatre, on the other hand, transliterated Russian versions are offered (“Chaika”, “Dyadya Vanya”, “Tri sestry”, etc. pp. 228–237). The second concerns source materials. Shakespeare left no correspondence so the texts in this volume are drawn primarily from his plays and sonnets, supplemented by dramatic works and reminiscences by others. Chekhov, on the other hand, wrote a","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"122 - 126"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1661128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48417301","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 : 2019-07-03DOI: 10.1080/15021866.2019.1640928
Ragnar Arntzen, Gunhild Braenne Bjørnstad
Ibsen’s use and rejection of the monologue in his modern, realistic dramas is an old and bewildering narrative. Maybe Ibsen himself is partly responsible for this bewildering. Already in 1869, he wrote to Georg Brandes that he had finished a play (De unges forbund/League of Youth) in which he had worked hard with the form, and proudly proclaimed that he had “gjort det Kunststykke at hjaelpe mig uden en eneste Monolog, ja, uden en eneste ‘afsides’ Replik/done that piece of an art to make it without a single monologue, yes, without a single aside” (Fulsås 2005, 352; our italics). This statement has later been quoted and commented on, and several scholars see this removal of the monologues as an important part of Ibsen’s modernizing of the drama genre (Northam 1953, 15; Geis 1993, 18). R. Farquharson Sharp claims that A Doll’s House marks a turning point in the history of European drama: “Naturalness of dialogue and situation [... ] and the disappearance of such artificialities as the soliloquy” (Sharp 1949, x; our italics). Alisa Solomon draws this somewhat ironic picture of this topic:
易卜生在他的现代现实主义戏剧中对独白的使用和拒绝是一种古老而令人困惑的叙事方式。也许易卜生自己对这种令人困惑的现象负有部分责任。早在1869年，他就写信给乔治·布兰德斯(Georg Brandes)，说他已经完成了一部戏剧(De unges forbund/League of Youth)，他在这部戏剧中努力创作了这种形式，并自豪地宣称他“gjort det Kunststykke at hjaelpe mig uden en eneste Monolog, ja, uden en eneste ' afsides”Replik/完成了一件艺术作品，没有一个独白，是的，没有一个旁白”(fulsasus 2005, 352;我们的斜体)。这句话后来被引用和评论，一些学者认为，删除独白是易卜生戏剧流派现代化的重要组成部分(Northam 1953, 15;Geis 1993, 18)。R. Farquharson Sharp认为《玩偶之家》标志着欧洲戏剧历史的一个转折点:“对话和情境的自然性……]以及诸如独白之类的人为因素的消失”(Sharp 1949, x;我们的斜体)。艾丽莎·所罗门为这个话题画了一幅有点讽刺的画面:
{"title":"The Lark’s Lonely Twittering: An Analysis of the Monologues in A Doll’s House","authors":"Ragnar Arntzen, Gunhild Braenne Bjørnstad","doi":"10.1080/15021866.2019.1640928","DOIUrl":"https://doi.org/10.1080/15021866.2019.1640928","url":null,"abstract":"Ibsen’s use and rejection of the monologue in his modern, realistic dramas is an old and bewildering narrative. Maybe Ibsen himself is partly responsible for this bewildering. Already in 1869, he wrote to Georg Brandes that he had finished a play (De unges forbund/League of Youth) in which he had worked hard with the form, and proudly proclaimed that he had “gjort det Kunststykke at hjaelpe mig uden en eneste Monolog, ja, uden en eneste ‘afsides’ Replik/done that piece of an art to make it without a single monologue, yes, without a single aside” (Fulsås 2005, 352; our italics). This statement has later been quoted and commented on, and several scholars see this removal of the monologues as an important part of Ibsen’s modernizing of the drama genre (Northam 1953, 15; Geis 1993, 18). R. Farquharson Sharp claims that A Doll’s House marks a turning point in the history of European drama: “Naturalness of dialogue and situation [... ] and the disappearance of such artificialities as the soliloquy” (Sharp 1949, x; our italics). Alisa Solomon draws this somewhat ironic picture of this topic:","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"88 - 121"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1640928","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47011826","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 : 2019-01-02DOI: 10.1080/15021866.2019.1597484
Leonardo F. Lisi
Given how thoroughly Ibsen is identified with his prose dramas it is perhaps unsurprising that relatively little attention has been paid to his verse. When it is discussed at all, it tends to be in terms of the light it sheds on his later production or, at best, in the context of the closet dramas Brand and Peer Gynt. In studies of these latter works, however, purely poetic considerations are mostly sidelined by attention to questions of character or plot. If understandable, this tendency is nevertheless highly regrettable since Ibsen was an eminently accomplished poet whose craft amply rewards detailed examination. Perhaps this is nowhere as apparent as in the magnificent scene of Aase’s death in Peer Gynt (584–595), made famous, not least, by Edvard Grieg’s musical version. The passage is widely recognized as an extraordinary achievement and yet, to the best of my knowledge, it has not previously been subjected to detailed analysis. In what follows, I offer a close reading of some of this scene’s poetic features, both as a way to unpack its overall dynamic and to suggest a few of its broader aesthetic implications. In basic terms, my argument is that the scene divides in two. The first half consists of three distinct attempts to escape the fact of death by deploying the creative force of poetry and narrative in three different temporal
{"title":"The Form of Finitude: AASE’s Death in Peer Gynt","authors":"Leonardo F. Lisi","doi":"10.1080/15021866.2019.1597484","DOIUrl":"https://doi.org/10.1080/15021866.2019.1597484","url":null,"abstract":"Given how thoroughly Ibsen is identified with his prose dramas it is perhaps unsurprising that relatively little attention has been paid to his verse. When it is discussed at all, it tends to be in terms of the light it sheds on his later production or, at best, in the context of the closet dramas Brand and Peer Gynt. In studies of these latter works, however, purely poetic considerations are mostly sidelined by attention to questions of character or plot. If understandable, this tendency is nevertheless highly regrettable since Ibsen was an eminently accomplished poet whose craft amply rewards detailed examination. Perhaps this is nowhere as apparent as in the magnificent scene of Aase’s death in Peer Gynt (584–595), made famous, not least, by Edvard Grieg’s musical version. The passage is widely recognized as an extraordinary achievement and yet, to the best of my knowledge, it has not previously been subjected to detailed analysis. In what follows, I offer a close reading of some of this scene’s poetic features, both as a way to unpack its overall dynamic and to suggest a few of its broader aesthetic implications. In basic terms, my argument is that the scene divides in two. The first half consists of three distinct attempts to escape the fact of death by deploying the creative force of poetry and narrative in three different temporal","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"3 - 35"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1597484","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42442266","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 : 2019-01-02DOI: 10.1080/15021866.2019.1597478
Ellen Rees
This book has grown out of an undergraduate course that I have taught at the Australian National University (ANU) for over 20 years. The course is one-semester long, which means that it runs for a total of 12 weeks. In each week I teach two lectures, where a lecture is defined as a 100-minute class with a 5-minute break in the middle. This lecture format is common in Europe but can be implemented almost everywhere; for example, at the ANU—where a normal teaching period is 50 minutes—I simply reserve two consecutive periods for every lecture. A 12-week semester can in principle accommodate 24 lectures of this kind but the course material only occupies 21, with the remaining time spent on discussing assignments, review, etc. While I was transforming my lecture notes into a book, I decided to keep the splitting of the course material into 21 lectures. This approach is unusual as most authors would organise the content into chapters, with each chapter accommodating a particular topic. However, I find that dividing the material according to the way it is presented at the lectures has several advantages compared to the traditional topicbased book composition. Indeed, first of all, the lecture-based organisation ensures that the content is partitioned into (approximately) equal pieces, so that none of them stands out and looks intimidating to the students at least as far as the length is concerned. This issue becomes particularly important for those who wish to use the book for self-study and would like to keep a close eye on their overall progress. Secondly, the lecture-based format guarantees that the students get more training for the more advanced topics, which are spread over several lectures. Indeed, each lecture has its own unique set of exercises, and the students are strongly encouraged to do at least some of them before moving on. It is then automatic that the harder the topic, the more exercises one is expected to do to go through it. It should also be mentioned that some of the exercises for each lecture serve as a preparation for the following one. Thirdly, the lecture-based split-up gives clear teaching guidelines to the instructor, at the same time allowing for the possibility of re-arranging the material according to their own taste. As the book covers a one-semester course, it is shorter than most complex analysis texts (approximately 200 pages). It is well-known that many students are intimi-
{"title":"Preface","authors":"Ellen Rees","doi":"10.1080/15021866.2019.1597478","DOIUrl":"https://doi.org/10.1080/15021866.2019.1597478","url":null,"abstract":"This book has grown out of an undergraduate course that I have taught at the Australian National University (ANU) for over 20 years. The course is one-semester long, which means that it runs for a total of 12 weeks. In each week I teach two lectures, where a lecture is defined as a 100-minute class with a 5-minute break in the middle. This lecture format is common in Europe but can be implemented almost everywhere; for example, at the ANU—where a normal teaching period is 50 minutes—I simply reserve two consecutive periods for every lecture. A 12-week semester can in principle accommodate 24 lectures of this kind but the course material only occupies 21, with the remaining time spent on discussing assignments, review, etc. While I was transforming my lecture notes into a book, I decided to keep the splitting of the course material into 21 lectures. This approach is unusual as most authors would organise the content into chapters, with each chapter accommodating a particular topic. However, I find that dividing the material according to the way it is presented at the lectures has several advantages compared to the traditional topicbased book composition. Indeed, first of all, the lecture-based organisation ensures that the content is partitioned into (approximately) equal pieces, so that none of them stands out and looks intimidating to the students at least as far as the length is concerned. This issue becomes particularly important for those who wish to use the book for self-study and would like to keep a close eye on their overall progress. Secondly, the lecture-based format guarantees that the students get more training for the more advanced topics, which are spread over several lectures. Indeed, each lecture has its own unique set of exercises, and the students are strongly encouraged to do at least some of them before moving on. It is then automatic that the harder the topic, the more exercises one is expected to do to go through it. It should also be mentioned that some of the exercises for each lecture serve as a preparation for the following one. Thirdly, the lecture-based split-up gives clear teaching guidelines to the instructor, at the same time allowing for the possibility of re-arranging the material according to their own taste. As the book covers a one-semester course, it is shorter than most complex analysis texts (approximately 200 pages). It is well-known that many students are intimi-","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1597478","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43664847","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 : 2019-01-02DOI: 10.1080/15021866.2019.1597480
Dean Krouk
The sepia photograph on the cover of the American edition of Will Eno’s Gnit (2013) shows a cowboy walking away from the viewer, a suitcase in one hand and a long, coiled length of rope in the other. This iconic silhouette is leaving us, heading down a muddy path into an overcast rural landscape. The image conjures up mythic and forlorn thoughts of the frontier, the freedom and loss of the unattached drifter, and the emotionally bruised or stunted American male of so many depictions. It is a fitting image for what the back cover describes as Eno’s “faithful, unfaithful, and willfully American misreading” of Henrik Ibsen’s sprawling 1867 drama, Peer Gynt. This “misreading” of Peer Gynt is both a flippant exercise in condensation and a morally serious homage. Gnit is an extremely funny play, as Eno is the playwright who inspired the term “stand-up existentialism,” but it is also a mournful look at loneliness, regret, and the difficulties of language and human connection. Eno’s version maintains an earnest ethical purpose with regard to a central theme in Peer Gynt: that the self is realized not in an abstract search for autonomy or authenticity, but in concrete relations and commitments to others. Peter Gnit evades responsibility, love, and community in search of a grandiose, but fatuous notion of self-discovery. Like Ibsen’s Peer Gynt, Peter Gnit takes a detour through life, following his erotic whims and hunger for greatness around the world,
{"title":"Reimagining Ibsen’s Women in Will Eno’s Gnit: Language and the Everyday","authors":"Dean Krouk","doi":"10.1080/15021866.2019.1597480","DOIUrl":"https://doi.org/10.1080/15021866.2019.1597480","url":null,"abstract":"The sepia photograph on the cover of the American edition of Will Eno’s Gnit (2013) shows a cowboy walking away from the viewer, a suitcase in one hand and a long, coiled length of rope in the other. This iconic silhouette is leaving us, heading down a muddy path into an overcast rural landscape. The image conjures up mythic and forlorn thoughts of the frontier, the freedom and loss of the unattached drifter, and the emotionally bruised or stunted American male of so many depictions. It is a fitting image for what the back cover describes as Eno’s “faithful, unfaithful, and willfully American misreading” of Henrik Ibsen’s sprawling 1867 drama, Peer Gynt. This “misreading” of Peer Gynt is both a flippant exercise in condensation and a morally serious homage. Gnit is an extremely funny play, as Eno is the playwright who inspired the term “stand-up existentialism,” but it is also a mournful look at loneliness, regret, and the difficulties of language and human connection. Eno’s version maintains an earnest ethical purpose with regard to a central theme in Peer Gynt: that the self is realized not in an abstract search for autonomy or authenticity, but in concrete relations and commitments to others. Peter Gnit evades responsibility, love, and community in search of a grandiose, but fatuous notion of self-discovery. Like Ibsen’s Peer Gynt, Peter Gnit takes a detour through life, following his erotic whims and hunger for greatness around the world,","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"19 1","pages":"36 - 54"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2019.1597480","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43392177","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 : 2018-07-03DOI: 10.1080/15021866.2018.1550865
Dean Krouk
The co-authors of Ibsen, Scandinavia and the Making of a World Drama are both prominent figures in contemporary Ibsen studies. The historian Narve Fulsås was the editor of the four volumes of Ibsen’s letters for Henrik Ibsens skrifter, the recent critical edition published from 2005 to 2010, and the literary scholar Tore Rem has been the general editor of the newly translated Penguin Classics editions of Ibsen dramas. At the end of their collaborative study, Fulsås and Rem write that they have “wanted to make Ibsen more Scandinavian and more European at the same time” (242). To do this, they advance a corrective argument that explains Ibsen’s Norwegian and Scandinavian contexts not as restrictive environments, but as areas already entangled in the transnational, European sphere of “world literature” in the nineteenth century. They aim to debunk the unquestioned narrative of Ibsen’s success as a liberation or “exile” from nineteenth-century Norway, which has long been understood in an uncritical and ahistorical way, even by Ibsen biographers. In this received story, Norway (and Scandinavia more broadly) was a restrictive location of provincial conservatism from which the self-made, avant-garde Ibsen had to detach himself in order to become a central figure of World Drama. Ibsen, Scandinavia and the Making of a World Drama offers a subtler and more historically situated account of the relationship between Ibsen’s peripheral context of origin and the metropolitan centers of Europe and Britain. The book employs a variety of approaches, including publishing history, book history, examination of the author’s finances, analysis of Scandinavian
{"title":"Review","authors":"Dean Krouk","doi":"10.1080/15021866.2018.1550865","DOIUrl":"https://doi.org/10.1080/15021866.2018.1550865","url":null,"abstract":"The co-authors of Ibsen, Scandinavia and the Making of a World Drama are both prominent figures in contemporary Ibsen studies. The historian Narve Fulsås was the editor of the four volumes of Ibsen’s letters for Henrik Ibsens skrifter, the recent critical edition published from 2005 to 2010, and the literary scholar Tore Rem has been the general editor of the newly translated Penguin Classics editions of Ibsen dramas. At the end of their collaborative study, Fulsås and Rem write that they have “wanted to make Ibsen more Scandinavian and more European at the same time” (242). To do this, they advance a corrective argument that explains Ibsen’s Norwegian and Scandinavian contexts not as restrictive environments, but as areas already entangled in the transnational, European sphere of “world literature” in the nineteenth century. They aim to debunk the unquestioned narrative of Ibsen’s success as a liberation or “exile” from nineteenth-century Norway, which has long been understood in an uncritical and ahistorical way, even by Ibsen biographers. In this received story, Norway (and Scandinavia more broadly) was a restrictive location of provincial conservatism from which the self-made, avant-garde Ibsen had to detach himself in order to become a central figure of World Drama. Ibsen, Scandinavia and the Making of a World Drama offers a subtler and more historically situated account of the relationship between Ibsen’s peripheral context of origin and the metropolitan centers of Europe and Britain. The book employs a variety of approaches, including publishing history, book history, examination of the author’s finances, analysis of Scandinavian","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"18 1","pages":"194 - 199"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2018.1550865","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43457235","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 : 2018-07-03DOI: 10.1080/15021866.2018.1550875
Jens-Morten Hanssen
Broadly speaking, digital humanities is the application of computation to the disciplines of the humanities (Berry and Fagerjord 2017, 3). It encompasses a wide range of methods and practices, from text mining, topic modeling, distant reading, data visualization, to digital mapping, cultural analytics, and so forth. Although the term has only been around since the late 1990s, digital humanities has a relatively long prehistory. The roots of computational work in the humanities stretch back to 1949 when the Jesuit scholar Roberto Busa in collaboration with IBM undertook the creation of a computer-generated concordance to the writings of Thomas Aquinas (Burdick et al. 2012, 123). In the 1990s, a shift occurred in the wake of the advent of the Internet and World Wide Web during which what was then known as humanities computing was renamed and reconceptualized. The term “digital humanities” was coined to replace the term “humanities computing,” because the latter was felt to be too closely associated with computing support services. Digital humanities, N. Katherine Hayles notes, “was meant to signal that the field had emerged from the low-prestige status of a support service into a genuinely intellectual endeavor with its own professional practices, rigorous standards, and exciting theoretical explorations” (Hayles 2012, 24). The field of theatre studies has undergone a similar development. Discussion on the use of information technologies in
{"title":"Digital Humanities and Theatre Studies: New Perspectives on the Early Reception of Ibsen on the German Stage","authors":"Jens-Morten Hanssen","doi":"10.1080/15021866.2018.1550875","DOIUrl":"https://doi.org/10.1080/15021866.2018.1550875","url":null,"abstract":"Broadly speaking, digital humanities is the application of computation to the disciplines of the humanities (Berry and Fagerjord 2017, 3). It encompasses a wide range of methods and practices, from text mining, topic modeling, distant reading, data visualization, to digital mapping, cultural analytics, and so forth. Although the term has only been around since the late 1990s, digital humanities has a relatively long prehistory. The roots of computational work in the humanities stretch back to 1949 when the Jesuit scholar Roberto Busa in collaboration with IBM undertook the creation of a computer-generated concordance to the writings of Thomas Aquinas (Burdick et al. 2012, 123). In the 1990s, a shift occurred in the wake of the advent of the Internet and World Wide Web during which what was then known as humanities computing was renamed and reconceptualized. The term “digital humanities” was coined to replace the term “humanities computing,” because the latter was felt to be too closely associated with computing support services. Digital humanities, N. Katherine Hayles notes, “was meant to signal that the field had emerged from the low-prestige status of a support service into a genuinely intellectual endeavor with its own professional practices, rigorous standards, and exciting theoretical explorations” (Hayles 2012, 24). The field of theatre studies has undergone a similar development. Discussion on the use of information technologies in","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"18 1","pages":"113 - 140"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2018.1550875","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43536896","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 : 2018-07-03DOI: 10.1080/15021866.2018.1557427
Matthew Wilkens, Julie Holledge, K. Gjesdal
“Computational methods are not taking over the humanities,” Matthew Wilkens wrote in 2015 (11). If this may be true on a general basis, it seems safe to say that digital humanities have clearly made their way into Ibsen Studies, as the monograph A Global Doll’s House. Ibsen and Distant Visions (2016) by Julie Holledge et al. clearly shows. Jens Morten Hanssen’s article “Digital Humanities and Theatre Studies: New Perspectives on the Early Reception of Ibsen on the German Stage” is an important addition to this growing field of studies, and shows how computational methodologies can provide new insights into materials – such as the introduction of Ibsen in Germany – that were previously thought to be thoroughly studied. For instance, computational approaches provide new answers to what probably is the greatest enigma of the German reception of Ibsen, namely, the failure of A Doll’s House after the positive reception of Pillars of Society. Liyang Xia’s article “A Myth that Glorifies: Rethinking Ibsen’s early reception in China” also engages with an established narrative and brings significantly new evidence, as well as historiographical reflections, on the legacy of Ibsen on the Chinese stage. Xia shows how there are strong reasons to doubt that the 1914 Shanghai staging of A Doll’s House by the Spring Willow Society, which has long been considered the first performance of Ibsen in China, actually took place. If this is the case, the history of Ibsen in China has to be rewritten, and later actors, especially female student groups, should be given credit for having introduced Ibsen’s plays to the country. Besides historical research, Xia also engages in a critical reflection on the narrative about Ibsen’s Chinese reception that has been proposed in the last four decades. The third article, Marit Aalen’s and Anders Zachrisson’s “Peer Gynt and Freud’s The Uncanny,” draws upon the rich bibliography on Ibsen and Freud, but by focusing on a play, Peer Gynt, that is not usually read from this perspective. Through a close reading of scenes from the play, Aalen and Zachrisson show how the
{"title":"Preface","authors":"Matthew Wilkens, Julie Holledge, K. Gjesdal","doi":"10.1080/15021866.2018.1557427","DOIUrl":"https://doi.org/10.1080/15021866.2018.1557427","url":null,"abstract":"“Computational methods are not taking over the humanities,” Matthew Wilkens wrote in 2015 (11). If this may be true on a general basis, it seems safe to say that digital humanities have clearly made their way into Ibsen Studies, as the monograph A Global Doll’s House. Ibsen and Distant Visions (2016) by Julie Holledge et al. clearly shows. Jens Morten Hanssen’s article “Digital Humanities and Theatre Studies: New Perspectives on the Early Reception of Ibsen on the German Stage” is an important addition to this growing field of studies, and shows how computational methodologies can provide new insights into materials – such as the introduction of Ibsen in Germany – that were previously thought to be thoroughly studied. For instance, computational approaches provide new answers to what probably is the greatest enigma of the German reception of Ibsen, namely, the failure of A Doll’s House after the positive reception of Pillars of Society. Liyang Xia’s article “A Myth that Glorifies: Rethinking Ibsen’s early reception in China” also engages with an established narrative and brings significantly new evidence, as well as historiographical reflections, on the legacy of Ibsen on the Chinese stage. Xia shows how there are strong reasons to doubt that the 1914 Shanghai staging of A Doll’s House by the Spring Willow Society, which has long been considered the first performance of Ibsen in China, actually took place. If this is the case, the history of Ibsen in China has to be rewritten, and later actors, especially female student groups, should be given credit for having introduced Ibsen’s plays to the country. Besides historical research, Xia also engages in a critical reflection on the narrative about Ibsen’s Chinese reception that has been proposed in the last four decades. The third article, Marit Aalen’s and Anders Zachrisson’s “Peer Gynt and Freud’s The Uncanny,” draws upon the rich bibliography on Ibsen and Freud, but by focusing on a play, Peer Gynt, that is not usually read from this perspective. Through a close reading of scenes from the play, Aalen and Zachrisson show how the","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"18 1","pages":"111 - 112"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2018.1557427","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42199082","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：