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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Pub Date : 2018-01-02DOI: 10.1080/15021866.2018.1473086
B. Dinçel
Wherever a theatrical event is encountered, and whatever type of performance or production is witnessed, one experiences an artform that demonstrates various kinds of conflict. The theatrical genre really does not matter; even pieces made as popular culture for immediate consumption rely on simple conflict to pique the curiosity of the spectator, who in all likelihood will consume the work tout de suite without necessarily registering this conflict. The very dynamics of drama are inscribed with conflict and it cuts across genres. Within these conflict-ridden dynamics, dialectics comes to the fore; they are the vital element of drama and actualise its potential to advance critical thinking. This cannot happen only on the page; without putting dialectics into practice, theatre cannot exercise its potency. The art of theatre is, by its nature, nothing short of the communal act that comes into passing with the palpability of the here and now. As such, its praxis cannot exist without an audience. And this symbiotic relationship between spectators and performers is redolent with the dialectics intrinsic to theatre. Theatre realises its potential to challenge established values, to resist dominant policies and—to use a well-worn expression—“to change the world” by raising the critical awareness of the audience through its dialectical features, even when changing the world is not the end in itself. That dialectics is a recurrent notion in discourses on contemporary directing urges one to explicitly frame the terms of an argument that is to be pursued throughout a piece of critical writing, such as the present article. Drawing on the deep-seated affiliation
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Pub Date : 2018-01-02DOI: 10.1080/15021866.2018.1473092
L. P. Wærp
Launched in 1917, Victor Sj€ ostr€ om’s famous film adaptation of Ibsen’s “Terje Vigen” celebrated its centenary in 2017 (Sj€ ostr€ om 2006).The film was directed by the highly regarded Swedish artist Victor Sj€ ostr€ om, who also played the leading role. In the film, which was a huge success worldwide, the Norwegian coastal landscape is portrayed in imposing and powerful nature imagery. Sj€ ostr€ om was a pioneer in developing the use of landscape imagery in fiction filmmaking. This article deals with the film as an adaptation of Ibsen’s epic poem, and the main focus will be on the representation of nature in the film. How is nature exploited? How do the nature pictures relate to still landand seascapes of the pictorial art tradition? What symbolic and ideologic functions do they have? The overall argument is that Sj€ ostr€ om’s film, through its strong emphasis on nature, atmospherics and emotions as well as drama, complicates the heroism of Terje Vigen, and, moreover, that this actually picks up on something that is latent in Ibsen’s poem.
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Pub Date : 2017-07-03DOI: 10.1080/15021866.2017.1403715
Klaus Müller-Wille
The comedy De unges Forbund (1869; The League of Youth) was one of Ibsen’s greatest successes on the Scandinavian and especially the Norwegian stages during his lifetime. It is the first prose-play by Ibsen in which he deals with problems of his present age. Moreover, he uses the depiction of actual political controversies and problematic economic transactions in a Norwegian provincial town in order to outline a general crisis of the modern age. These three observations alone make it quite astonishing that the existing research on the play is relatively small. In this article, I will read De unges Forbund in the light of current discussions in German literary studies that have been inspired by Cornelius Castoriadis’ theory of the political imaginary. I think that the play deals with a crisis of the political sphere in the midst of the nineteenth century that can be traced back to a new form of hollow and populistic rhetoric and empty theatrical rituals. In order to reconstruct the corresponding political and historical-philosophical implications of the play, I will also discuss writings of Karl Marx and Søren Kierkegaard. I will combine this re-contextualization of the play with three central theses. As already mentioned, I think that Ibsen uses the comedy in order to outline a more general reflection on the historicity or “zeitgeist” of his own age. This attempt is characterized by striking contemporary observations on the effects of a populist vision of an imagined community and the corresponding power of media. Moreover, I think that the play deals more generally with the crisis of politics and history
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Pub Date : 2017-07-03DOI: 10.1080/15021866.2017.1395548
T. Andersen
With its broad presentation of the contemporary reception of each of Ibsen’s dramas, Henrik Ibsens Skrifter (HIS) certainly represents a giant step forward compared to its predecessor Hundreårsutgaven (HU, The Centenary Edition). On the whole, the reception chapters in the introductions provide students and scholars with thorough accounts of how the printed editions of the plays were received and read in Scandinavia. In fact, with some of these chapters filling 20 pages or more (cf. the introductions to Hedda Gabler in HIS 9k and When We Dead Awaken in volume 10k), the extensiveness becomes a problem in itself, raising the question of whether one should present highlights from the reception, a representative selection, or lock, stock and barrel. On closer inspection, it is obvious that there is an inconsistent practice when it comes to form, structure and content of the reception chapters in HIS. Unfortunately, no clear principles were laid down from the outset concerning what to include and how to present the reception of the written plays. These problems regarding the reception chapters of HIS, are discussed in the first part of this article. In the second (last) part, I will comment in detail on HIS’s presentation of the reception of one of the plays, Little Eyolf (LE), published in 1894 and the last but two of Ibsen’s dramas. For several reasons, LE is particularly interesting in the history of Ibsen reception, not least because this relatively obscure play, unlike some of the more celebrated Ibsen dramas, actually received generally positive reviews in its time.
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