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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]

Rejection of the 'nice but boring' relationship is discussed in relation to narcissism. The 'nice but boring object' (NBBO) is linked to the patient's earlier experiences of a sterile or depressed relationship with an unavailable primary care giver. This is discussed with regard to Green's concept of 'the dead mother' (Green, 1983) and the impact this has on the development of the infant's 'unit status' (Winnicott, 1960). The re‐awakening of 'the dead mother' experience is evoked both in the relationship with the NBBO and also with the introjected depressed mother that the patient has internalized. In order to avoid the dangerous, suffocating deadness of the dead mother the patient seeks out relationships which are full of energy and lively, even if this exciting object leaves them feeling insecure or in other ways is felt as bad for them. The lure of the exciting bad object is heavily influenced by the need to flee the NBBO who evokes the unconscious stifling experience of 'the dead mother'. This dynamic is then referenced to the patient's narcissism, their fear of dependency, their sensitivity to feeling wounded and the difficulty with establishing intimate relationships. Two clinical examples illustrate these issues. 'Dear Brack, you can't imagine how bored I'm going to be here.' Hedda Gabler, Act Two, by Henrik Ibsen 'The heaviest burden for a talky manIs silence; everywhere he goes he talksAnd is a bore, disliked by all. To sitWith him at dinner is like being jailed.' Theognis, Elegies [ABSTRACT FROM AUTHOR]

This article explores female characters' quest for a newly discovered world which they will redefine by their newly discovered realities in Henrik Ibsen's plays. The essay explores how they undergo ordeals to gain self-knowledge so that the reader can understand the struggle of women in an oppressive patriarchal culture. Ibsen's female characters are criticized for their haughtiness and their failure to realize their primary duty as wives and mothers. This research contends that in search for meaning, Ibsen's female characters destroy the rigid moulds of society and try to emerge out of their traditional domesticated roles. This article further applies Freud's concept of "un homely" to expose the seemingly safe havens of domestic world. Their attempts to search for the unadulterated truth of their existence are more than just reactions: they actually revolt against all the unnatural patriarchal patterns. They challenge these roles and, in their defiance, they impart new meanings to their lives. This article describes how this quest for certain principles of life functions in Ibsen's major plays through his dominant female characters and finds its ultimate expression in the renewed roles they acquire. In exploring purpose behind every action of these female characters, I have included Ibsen's three major works: A Doll's House, Hedda Gabler, and Ghosts. A close textual analysis of the works locates the strength of Ibsen's female characters and their will power that empowers them to change patriarchal patterns. [ABSTRACT FROM AUTHOR]

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Chinese interest in Henrik Ibsen's plays has flourished for more than a century and many of his plays have been performed on or adapted for the Chinese stage since the early twentieth century. However, attempts to adapt his plays for the traditional Chinese theatre were only made in the past decade with Peer Gynt adapted into Peking opera in 2006, The Lady from the Sea and Hedda Gabler into Yue opera in 2006 and 2010. A close study of the re presentation of two Ibsenian women characters, namely, Ellida Wangel and Hedda Gabler on the Chinese traditional Yue operatic stage during Ibsen's centenary in 2006 reveals the Chinese cultural assimilation of the two Norwegian women with their distinct character and outlook of life to suit the traditional Chinese notion of femininity and morality, as well as the conventionality of the Yue theatre with its unique theatrical and aesthetic considerations. What is more important is the Chinese desire to invite the audience, especially the young audience, to reconsider what constitutes happiness and integrity for married women in the Chinese context with an emphasis on moral responsibility. [ABSTRACT FROM AUTHOR]

The purpose of this article is to relate Henrik Ibsen's Hedda Gabler to Woody Allen's Interiors with respect to their inquiry into women's relation to power and art. Both artists are close watchers and profound analysts of women's positions in times of transition, and both relate their themes to class and gender. The subordination of women is apparent in the use of cinematic and theatrical space. In order to compare the screenplay and the drama text I have studied how the artists allow women to use space, building on C. Hermann's theory (1976) about spatial systematization and hierarchization. [ABSTRACT FROM AUTHOR]

The article investigates the subject of history and historiography in Hedda Gabler through a revision of the prevalent view that intended Tesman to be a caricature on the historical profession. Tesman's research area is innovative; it foreshadows later developments in historical thinking and is therefore linked to Ibsen's modernism. [ABSTRACT FROM AUTHOR]

The author focuses on the play "Hedda Gabler," by Henrik Ibsen. The author suggests that the character of Hedda Gabler is a character that people can relate to as she can be seen on television or in the neighborhood. The author discusses several news on desperate women that partly complement the theme of the play as Hedda Gabler does some of these women's acts to secure her future and luxurious living. The author presents a study of the character, who is said to be preoccupied with self-determination.

This essay explores the significance of choosing to look/away in the theatre by analyzing the spectacle of suffering in two interpretations of Hedda Gabler's demise. It focuses on the suicide sequence at Cutting Ball Theater in San Francisco, directed by Yury Urnov, and compares it with a secondary example: Ivo van Hove's interpretation of the same sequence at the National Theatre, London. Both productions surpassed Ibsen's stage directions when it came to the exposure of Hedda's body, presenting differently racialized yet "colorblind" associations of the displayed female body with violence. Urnov also inserted a break into his version of Hedda Gabler that evinced the connection between actor Britney Frazier's blackness and the anything-but-colorblind world outside the theatre, initiating a reconsideration of the often-unmarked status of Hedda's whiteness. Frazier's refusal to perform Hedda's suffering and her triumphant, lively exit evoked, the essay argues, what José Esteban Muñoz has called "the problems of belonging in alterity," or tensions between the "crypto-universal" status of Ibsen's drama (implicitly white, sometimes de-gendered) and the particular "choreography of self and other" that organizes actual stagings of Hedda Gabler. Recent research on intercultural Ibsen considers what it means to use his dramas to thematize particular ethno-cultural contexts. Much less attention has been given to nontraditional casting, racialization, and spectatorship of Ibsen in the West. Why is it necessary to amplify Hedda's pain? And what does it mean for blackness to play a part in spectatorship of gendered suffering, especially if race functions as an intensifier of pleasure taken in evasion? [ABSTRACT FROM AUTHOR]

Allusions to Henrik Ibsen's plays in the works of two prominent Israeli modernist writers, Amos Oz's autobiographical A Tale of Love and Darkness (2004) and David Grossman's The Zigzag Kid (1994) examined in the context of the Israeli reception of Ibsen in the 1950s and 1960s. To establish the variety of meanings Ibsen's plays had for the audiences of the Habimah production of Peer Gynt in 1952 and The Kameri production of Hedda Gabler in 1966, this article draws on newspaper reviews and actors' memoirs, as well as providing an analysis of Leah Goldberg's translation of Peer Gynt. It emerges that both authors enlisted Ibsen in their exploration of the myths surrounding the formation of Israeli nationhood and identity. [ABSTRACT FROM AUTHOR]