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":null,"pages":null},"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: 10.1080/15021866.2018.1550875
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
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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
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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":null,"pages":null},"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}
Pub Date : 2018-07-03DOI: 10.1080/15021866.2018.1550876
Øystein Rian
This book is a polemic response to what the author considers to be a misleading tradition among literary historians regarding the family background of Henrik Ibsen. Jørgen Haave is himself a literary scholar, who has previously published articles about biographical aspects regarding Henrik Ibsen and his works, but this is his first historical rather than literary work on this theme. In the introductory chapter, Haave gives a short evaluation of the previous biographical works about Ibsen, and he criticizes his predecessors for an almost mythological approach in exaggerating how miserable his father, Knud Ibsen’s career was, from being an upstart merchant to ending up as a bankrupted alcoholic. He finds one methodological approach in previous research especially problematic: that most of his predecessors have used Henrik Ibsen’s works as sources for information about his childhood. Haave acknowledges that in the last 15 years, some authors have given a far less negative evaluation of Ibsen’s background, namely Ivo de Figueiredo and Jon Nygaard, noting that Figueiredo attempts to rehabilitate Knud Ibsen, and Nygaard stresses the prominence of Ibsen’s ancestry. Haave does not however think Figueiredo has gone far enough in his rehabilitation. Nygaard has not written about Henrik Ibsen himself, but about his ancestors. This subject is important for Haave, but his review of Nygaard’s family history oddly enough is just a quote from the blurb on the book cover. Haave recognizes his debt to local historians and genealogists, but seems to be almost unaware of the significance of contributions from mainstream historians. This lack of respect for a field in which he is a newcomer has resulted in a systematic tendency to replace the traditional overly
这本书是对作者认为文学历史学家中关于亨里克·易卜生家庭背景的误导传统的争论性回应。约尔根·哈夫本人是一位文学学者，他之前曾发表过关于亨里克·易卜生及其作品传记方面的文章，但这是他第一部关于这一主题的历史而非文学作品。在引言一章中，Haave对之前关于易卜生的传记作品进行了简短的评价，他批评他的前任们用近乎神话的方式夸大了他的父亲Knud Ibsen的职业生涯是多么悲惨，从一个暴发户商人到最终成为一个破产的酒鬼。他发现以前的研究中有一种方法论方法特别有问题：他的大多数前任都使用亨里克·易卜生的作品作为关于他童年的信息来源。Haave承认，在过去的15年里，一些作者对易卜生的背景给出了远没有那么负面的评价，即Ivo de Figueiredo和Jon Nygaard，并指出Figueire多试图恢复克努德·易卜生，而Nygaard强调易卜生祖先的重要性。然而，哈维认为菲格雷多在康复方面做得还不够。尼加德写的不是易卜生本人，而是他的祖先。这个主题对Haave来说很重要，但奇怪的是，他对Nygaard家族史的评论只是引用了封面上的简介。Haave承认他对当地历史学家和家谱学家的亏欠，但似乎几乎没有意识到主流历史学家的贡献的重要性。这种对他所处领域的不尊重导致了一种系统性的倾向，即取代传统的过度
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Pub Date : 2018-07-03DOI: 10.1080/15021866.2018.1550868
Liyang Xia
There is a consensus among Ibsen scholars and scholars of Chinese spoken drama that the Spring Willow Society staged A Doll’s House in Shanghai in 1914 (e.g. Qian [1956] 1981; Ge 1982; Eide 1983; T...
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Pub Date : 2018-07-03DOI: 10.1080/15021866.2018.1550881
O. Gunn
Ibsen’s Hedda Gabler: Philosophical Perspectives is a collection of new critical essays written by scholars working in drama and theater studies, European philosophy, literature and Scandinavian studies. Editor Kristin Gjesdal (Associate Professor of Philosophy at Temple University and Professor II at the University of Oslo) describes the volume as an “effort to overcome” the “intellectual provincialism” that has separated “philosophy and the other human sciences” (7). After reading a few chapters, I began to wonder: What makes this book philosophical? And what makes it particularly suited to surmounting disciplinary insularity? A literary scholar myself, I do not always recognize a manifest difference between the readings and perspectives collected here and other examples of criticism on Hedda Gabler written from literary or performance studies perspectives. I do not claim expertise or the skill to identify what is, and what is not, philosophical—quite the opposite. Thus, I found myself somewhat set adrift and unconvinced concerning claims about the “long overdue” nature of “such a volume” (Gjesdal 7). Nonetheless, I find the question itself interesting, and it continued to pester me as I read. Thus, I will use it to motivate and organize this review, zooming in on two essays that can exemplify articulation of a strong connection between Hedda Gabler and specific philosophical concepts or texts, and identifying a few answers— whether satisfying or no. But before I turn my attention to these individual essays, I will introduce Gjesdal’s broader claims for the philosophical approach, presented in her Editor’s Introduction. She chooses
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Pub Date : 2018-07-03DOI: 10.1080/15021866.2018.1550877
M. Aalen, A. Zachrisson
In this article, we will analyze some central scenes in Henrik Ibsen’s Peer Gynt (Ibsen [1867a] 2007) in light of Sigmund Freud’s ideas about Das Unheimliche, usually translated as the uncanny (Freud 1919). Peer Gynt is a work where the story twists and turns as it proceeds, mirroring the protagonist’s volatile mind. We will demonstrate an affinity between Freud’s conception of the uncanny and the way Ibsen composes crucial scenes in his text. Our focus is on scene changes followed by remarkable shifts in atmosphere. Based on Freud’s thorough examination of the German concept unheimlich, and its opposite heimlich, we will analyze the dynamics of the scene in the woods where Peer Gynt is building a hut. Our point is that both the sequence and the contents of the scene can be understood using Freud’s description of the transition from heimlich to unheimlich. A crucial point is that what appears to be cosy and comforting actually conceals its opposite, something uncanny. Freud defines the uncanny as “the name for everything that ought to have remained (... ) secret and hidden but has come to light” (Freud 1919, 223), inspired by the romantic philosopher Schelling. Schelling was concerned with the “mythology of mind”, a romantic view of the unconscious. In his examination of the uncanny, Freud restricts his interest to the content of intolerable thoughts: “What is involved is an actual repression of some content of thought and a return of this repressed content” (Freud 1919, 248). From these specifications, we can conclude that Freud deals with central aspects of mental content. First, the uncanny is
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Pub Date : 2018-01-02DOI: 10.1080/15021866.2018.1504407
Giuliano D’Amico
Switched control systems have attracted much interest from the control community not only because of their inherent complexity, but also due to the practical importance with a wide range of their applications in nature, engineering, and social sciences. Switched systems are necessary because various natural, social, and engineering systems cannot be described simply by a single model, and many systems exhibit switching between several models depending on various environments. Natural biological systems switch strategies in accordance to environmental changes for survival. Switched behaviors have also been exhibited in a number of social systems. To achieve an improved performance, switching has been extensively utilized/exploited in many engineering systems such as electronics, power systems, and traffic control, among others. Theoretical investigation and examination of switched control systems are academically more challenging due to their rich, diverse, and complex dynamics. Switching makes those systems much more complicated than standard systems. Many more complicated behaviors/dynamics and fundamentally new properties, which standard systems do not have, have been demonstrated on switched systems. From the viewpoint of control system design, switching brings an additional degree of freedom in control system design. Switching laws, in addition to control laws, may be utilized to manipulate switched systems to achieve a better performance of a system. This can be seen as an added advantage for control design to attain certain control purposes. On the one hand, switching could be induced by any unpredictable sudden change in system dynamics/structures, such as a sudden change of a system structure due to the failure of a component/subsystems, or the accidental activation of any subsystems. On the other hand, the switching is introduced artificially to effectively control highly complex nonlinear systems under the umbrella of the so-called hybrid control. In both cases, an essential feature is the interaction between the continuous system dynamics and the discrete switching dynamics. Such switched dynamical systems typically consist of sets of subsystems and switching signals that coordinate the switching among the subsystems. In this book, we investigate the stability issues under various switching mechanisms. For a controlled switching, the switching signal is a design variable just as
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Pub Date : 2018-01-02DOI: 10.1080/15021866.2018.1475280
Ewa Partyga
In Poland, as elsewhere, several women made significant contributions to the popularization of Henrik Ibsen’s work. Among the female translators, actors, authors and social activists interested in his work, Gabriela Zapolska (1857–1921) takes pride of place. Described as a “rebellious talent”, this writer, essayist and actress was one of the liveliest and most independent minds of her time (see: Borkowska 2011). Ibsen’s work provided an important, though mostly implicit, context to all of her activities. This complex and multifaceted relation is in need of critical investigation. Here, however, I am primarily concerned with Zapolska as an Ibsen actress, in particular with her favourite role in Et dukkehjem. She was the second Nora Helmer in Polish theatre history and reprised the role over a period of nearly 18 years (1882–1900) in Cracow, Lvov, Warsaw as well as in smaller townlets, introducing Ibsen to numerous and diverse audiences (see: Raszewski 1951; Lewko 1996; Peiper 2004). Although Zapolska enjoys a relatively prominent profile in the history of Polish culture as a playwright, her work in all fields should be revisited. Many plays from her abundant output became an instant stage success in Poland upon their premieres; some still frequently return to the stage today. Her dramatic achievements and their position in Polish literary history, however, remain a subject of controversy. Zbigniew Raszewski, Poland’s most influential theatre historian and the author of the first serious
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