Search

In I Hedda Gabler i (Ibsen [26] [1890]), Ibsen brings two historians to the stage who, 27 years after I The Pretenders i , act out the constellation of Håkon and Skule anew. 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.[1] For in a history play two types of turning points intersect; one could perhaps find in this crossroad the characteristic that makes a history I play i a I history i play. 45 Ibsen's I The Pretenders / Kongs-Emnerne i is quoted from I The Oxford Ibsen i (Ibsen [21] [1864]) and I Henrik Ibsens skrifter i (Ibsen [23] [1864]). Before I do this, I would like to address Kristin Gjesdal's I The Drama of History: Ibsen, Hegel, Nietzsche i (Gjesdal [16]), a prominent study on Ibsen's concept of history. Gjesdal's book reviews the entire breadth of extant Ibsen scholarship; furthermore, she is primarily a philosopher who focuses on German philosophy of the nineteenth century, so she is well equipped to evaluate existing Ibsen research that deals with Hegel and Nietzsche. [Extracted from the article]

Borkman now sees the past in a new light and is ready to go out again "out into reality, as hard as iron and devoid of dreams" (Ibsen [10], 209).[28] The possibility of a change of perspective, already demanded by Borkman in the dialogue with Foldal, is now echoed in a delphic statement. However, his remark refers not to the text itself but explicitly to the "actor" Borkman, as he points out: "In a meta-fictional sense, Borkman's acquittal means that he is liberated from his original self ('John Gabriel Borkman') and his earlier drama; yet, at the same time, that liberation incriminates him for having wasted his life trying to coincide with his original self" (Sørensen [22], 299). Attending a performance of Henrik Ibsen's I John Gabriel Borkman i (1896) directed by Vegard Vinge and Ida Müller in Berlin in 2012 required one thing in particular: time. The adjective, traditionally associated with the Aristotelian term I phóbos i (fear/terror), is here also used by Borkman as a pejorative term for the drama (Borkman's drama?. [Extracted from the article]

"Selvmordene i Ibsens Rosmersholm" [Suicides in Ibsen's Rosmersholm]. I Profil i , no. 2: 50-80. 2 Tjønneland, Eivind. Henrik Ibsen Og Dekadansen.: ["Abnormal" Women: Henrik Ibsen And Decadence] Vidarforlaget, Oslo, 2022, 262 pages Tjønneland analyzes the concept of Decadence through the words and representations that both critics and artists associate with it in Ibsen and contemporary works. Similarly, the Hungarian critic Max Nordau is irritated by the fact that Ibsen idealizes women at the expense of men, and Nils Hertzberg misses the sweet and submissive Ibsen woman. [Extracted from the article]