Ibsen's an Enemy of the People
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The Logic of Violence in Civil War Has Much Less to Do with Collective Emotions, Ideologies, Cultures, Or “Greed and Grievance” Than Currently Believed
P1: KAE 0521854091pre CUNY324B/Kalyvas 0 521 85409 1 March 27, 2006 20:2 This page intentionally left blank ii P1: KAE 0521854091pre CUNY324B/Kalyvas 0 521 85409 1 March 27, 2006 20:2 TheLogic of Violence in Civil War By analytically decoupling war and violence, this book explores the causes and dynamics of violence in civil war. Against prevailing views that such violence is either the product of impenetrable madness or a simple way to achieve strategic objectives, the book demonstrates that the logic of violence in civil war has much less to do with collective emotions, ideologies, cultures, or “greed and grievance” than currently believed. Stathis Kalyvas distinguishes between indis- criminate and selective violence and specifies a novel theory of selective violence: it is jointly produced by political actors seeking information and indi- vidual noncombatants trying to avoid the worst but also grabbing what oppor- tunities their predicament affords them. Violence is not a simple reflection of the optimal strategy of its users; its profoundly interactive character defeats sim- ple maximization logics while producing surprising outcomes, such as relative nonviolence in the “frontlines” of civil war. Civil war offers irresistible opportu- nities to those who are not naturally bloodthirsty and abhor direct involvement in violence. The manipulation of political organizations by local actors wishing to harm their rivals signals a process of privatization of political violence rather than the more commonly thought politicization of private life. Seen from this perspective, violence is a process taking place because of human aversion rather than a predisposition toward homicidal violence, which helps explain the para- dox of the explosion of violence in social contexts characterized by high levels of interpersonal contact, exchange, and even trust. -
A Dramatic Poem in Five Acts
Henrik Ibsen Brand A Dramatic Poem in Five Acts Translated by John Northam I b s e n . n e t 2 0 0 7 Contents PREFACE................................................................................................................3 CHARACTERS .......................................................................................................5 ACT 1.......................................................................................................................6 ACT 2.....................................................................................................................22 ACT 3.....................................................................................................................42 ACT 4.....................................................................................................................64 ACT 5.....................................................................................................................92 NOTES.................................................................................................................133 PREFACE The imposing figure of Brand looms large in Ibsen’s development as a dramatist. The dramatic poem that bears his name links Ibsen’s earlier output with his later emergence as the writer of modern tragedies. Ibsen’s earlier career to date had been more or less equally divided between his poems (see The Collected Poems on this website) and his plays. The poetry shows a restless preoccupation with stanzaic forms: lyrics, odes, sonnets, together with long epic -
Rebellion of Osvald Alving Reflected in Henrik Ibsen's
REBELLION OF OSVALD ALVING REFLECTED IN HENRIK IBSEN’S GHOSTS DRAMA (1881): PSYCHOANALYTIC APPROACH PUBLICATION ARTICLE Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education in English Departmen by: ANANDA DHIRA ANORAGA A320110085 DEPARTMENT OF ENGLISH EDUCATION SCHOOL OF TEACHER TRANING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2016 REBELLION OF OSVALD ALVING REFLECTED IN HENRIK IBSEN’S GHOSTS DRAMA (1881): PSYCHOANALYTIC APPROACH ANANDA DHIRA ANORAGA School of Teacher Training and Education Muhammadiyah University of Surakarta Abstrak Penelitian ini bertujuan untuk menganalisis pemberontakan yang ada dalam drama Henrik Ibsen yang berjudul Ghosts dengan Pendekatan Psikoanalitik. Penelitian ini bertujuan untuk menganalisis drama berdasarkan Pendekatan Psikoanalitik. Penelitian ini adalah penelitian kualitatif dengan menggunakan drama Henrik Ibsen Ghosts (1881) sebagai objek. Ada dua jenis sumber data: primer dan sekunder. Sumber data primer adalah naskah drama Henrik Ibsen Ghosts dan sumber data sekunder adalah beberapa buku sastra dan beberapa artikel yang berhubungan dengan drama. Metode pengumpulan data dalam penelitian ini adalah studi pustaka dengan membaca dan meringkas data. Dalam menganalisis data, penulis menggunakan analisis deskriptif. Hasil dari penelitian ini adalah Osvald memiliki kondisi psikologi yang buruk. Hal ini dibuktikan dengan pemberontakannya yang telah dilakukan. Meskipun ia tahu bahwa berhubungan seks bebas dan penyalahgunaan obat-obatan terlarang yang menyebabkan sifilis, tetapi dia masih mencoba untuk menggunakan itu. pemberontakan lain yang telah Osvald dilakukan adalah ketika ibunya melarang dia untuk menikah Regina yang sebenarnya saudara tirinya, Osvald bersikeras untuk menikah Regina karena dia mencintai Regina dan ia tidak pernah tahu bahwa Regina adalah saudara tirinya karena ibunya tidak pernah mengatakan kepada fakta-fakta yang terjadi di antara ayahnya dan ibu Regina. -
Ibsen's Philosophy of Religion. George Burman Foster 193
ftbe ®$en Court A MONTHLY MAGAZINE 2>evote& to tbe Science of IReliafon, tbe Helfaton of Science, ano tbe Extension of tbe "Religions parliament loea Founded by Edward C. Hegeles Vol. XXXVIII (No. 4) APRIL, 1924 No. 815 CONTENTS PAGE Frontispiece. Henrik Ibsen. Ibsen's Philosophy of Religion. George Burman Foster 193 Patriotism: With Some Aspects on the State. L. A. Shattuck 206 The Bhagavad Glta, or Song of the Blessed One. (Continued.) Franklin Edgerton 235 The New Liberalism. Curtis W. Reese 247 The Chinese State Religion. Julius J. Price 252 TLbe ©pen Court ^ublisbing Company 122 S. Michigan Ave. Chicago, Illinois Per copy, 20 cent* (1 shilling). Yearly, $2.00 (in the U.P.U., 9s. 6d.) Entered as Second-Class Matter March 26, 1887, at the Post Office at Chicago, 111., under Act of March 3, 1879. Copyright by The Open Court Publishing Company, 1924. ; This is the time to read The New Testament An American Translation By Edgar J. Goodspeed In translating the New Testament into the language of today, Doctor Goodspeed has not sought to supplant the King James' version, nor to replace its beautiful phrases with the slang of a rushing twentieth century America. He has tried merely to make the Bible passages as easily understood by us all as they were by the common folk of ancient Greece. He has utilized the best of our modern scholarship to bring out the original meaning of the New Testament in a dignified and reverent way. Regular Edition: postpaid, cloth, $3.12; leather, $4.12; morocco, $5.12. -
Rule by the Few in the Federalist Papers: an Examination of the Aristocratic Preference of Publius
Br. J. Am. Leg. Studies 10(2) (2021), DOI: 10.2478/bjals-2020-0020 Rule by the Few in the Federalist Papers: An Examination of the Aristocratic Preference of Publius Carl M. Felice IV.* ABSTRACT The Federalist Papers are a set of eighty-five essays written by Alexander Hamilton, James Madison, and John Jay during the founding era of the United States, with the purpose of persuading the states to adopt the Constitution as the replacement for the Articles of Confederation. The Papers were some of the most impressive political writings of the time, and are still cited frequently today by the United States Supreme Court. The arguments set forth in the Papers attempted to defend the Constitution’s aristocratic characteristics against its opponents, the Anti-Federalists, while also attempting to normalize an anti-democratic, representative form of government in the minds of the American people. The clever advocacy and skillful rhetoric employed by Hamilton, Madison, and Jay led to the eventual ratification of the Constitution, and consequently the creation of the most powerful and prosperous nation on the planet. This paper examines the differences between the traditional forms of government, the political philosophies of the Papers’ authors, the anti-democratic, aristocratic nature of the government proposed by the Constitution, and the arguments for and against its adoption, as articulated in the Papers and various other writings. KEYWORDS Federalist Papers, James Madison, Alexander Hamilton, Aristocracy, Constitution CONTENTS I. Introduction .....................................................................................219 II. Classic Conceptions of Government ............................................219 A. Government as Conceived by Aristotle ........................................219 B. Government as Conceived by Montesquieu .................................222 III. -
The Tension Between Illusion and Reality in H. Ibsen's the Wild Duck
Global Journal of HUMAN-SOCIAL SCIENCE: A Arts & Humanities - Psychology Volume 19 Issue 8 Version 1.0 Year 2019 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X The Tension between Illusion and Reality in H. Ibsen’s The Wild Duck By Dr. Mahmoud Nayef Baroud Islamic University of Gaza Abstract- Much of contemporary criticism of Ibsen plays has examined one of two concerns: Ibsen and Feminism, or Ibsen as a realist and a pioneer of modern theatre and drama. Articles on the first matter are often critical of universalizing readings of Ibsen that would have the dramatist concerned with the ills of humanity; articles on the latter theme tend to rejoice Ibsen’s assumed anti-theatrical overcoming of melodrama. Both topics can be found in his masterpiece The Wild Duck which is more honoured and received well in the study more than the other plays. Like Hamlet, The Wild Duck can be interpreted by each one in his own image; one day it will be read as a tragedy or tragicomedy, the next as the harshest irony; parts of it are clumsy, in other parts are embedded old controversies of that time. So searching yet so delicate is the touch, that these flaws and notions seem in themselves to strengthen the play. In this work, Ibsen perfected his own special power to infuse the particular, dull, limited fact with a halo and a glory. This paper is an attempt to examine the tension between illusion and reality in the play. -
Political Corruption and Intellectual Activism in Henrik Ibsen's an Enemy of the People
Political Corruption and Intellectual Activism in Henrik Ibsen’s An Enemy of the People Paméssou WALLA∗ University of Lomé, Togo Résumé – Le présent article traite des problèmes liés à la corruption politique et de l’engagement de l’élite intellectuele en matière de la politique. La politique étant définie comme la gestion des affaires de la cité n’est pas toujours sans reproche pour ceux qui l’exercent. La politique loin d’être une lutte pour la cause commune se veut une guerre d’intérêts souvent égoïstes. L’homme politique pour la plupart du temps veut satisfaire ses propres egos au lieu du bien être commun. Pour cela, il met tous les moyens en place pour aboutir ; parmi les stratégies dont il fait usage l’on peut noter la manipulation de la presse, de la conscience des masses et l’exercice de l’opportunisme, c’est-à-dire profiter des failles, exploiter des occasions inattendues à ses propres fins. Par conséquent, cet article vise à montrer comment un intellectuel engagé dans la politique, peut inverser la tendance en jouant un rôle déterminant dans la gestion saine des affaires de la cité victime de manipulation politique. Key Words: politics, corruption, opportunism, manipulation and intellectual activism. 1. Introduction Politics as the science of government is critically fundamental to all human societies. However, it important to know that there are both good and bad politics. Bad politics is concerned with politics based on individual welfare whereas good politics aims at boosting the public life standards. Good politics leads to good governance and the advantages entitled to it are not to be overlooked. -
Henrik Ibsen 1828-1906
Sune Berthelsen Menneskeåndens revoltering Henrik Ibsen 1828-1906 Jeg går aldrig ind på at gøre friheden ensbetydende med politisk frihed. Hvad De kalder frihed, kalder jeg friheder; og hvad jeg kalder kampen for friheden er jo ikke andet end den stadige, levende tilegnelse af frihedens idé. Den, der besidder friheden anderledes end som efterstræbelse, han besidder den dødt og åndløst, thi frihedsbegrebet har jo dog det ved sig at det stadigt udvides under tilegnelsen, og hvis derfor nogen under kampen bliver stående og siger: nu har jeg den, - så viser han derved at han netop har tabt den. Ibsen i brev til Georg Brandes, 17/2 1871 Ibsens forfatterskab er på alle måder stort. Hans forfatterskab strakte sig over næsten 50 år, han nåede en verdensomspændende udbredelse, og overfor en lang række af eftertidens kunstneriske udtryksformer fik han kolossal betydning Hans internationale berømmelse kom da han udsendte sine naturalistiske problemdebatterende samtidsdramaer. Væsentlige forudsætninger for Ibsens store gennembrud var Georg Brandes og forlaget Gyldendals direktør Hegel. Om betydningen af de fordringer Georg Brandes havde opstillet for litteraturen i Emigrantlitteraturen (1872), sagde Ibsen: ”Farligere bog kunde aldrig falde i en frugtsommelig digters hænder.” Mens Hegel indtog en mere diskret men ikke mindre vigtig rolle. I samtiden gik vejen til berømmelsens tinder for norske forfattere gennem København. Da Gyldendal blev forlægger for Ibsen begyndte et tæt samarbejde mellem Ibsen og Hegel. For at nå et bredere publikum ønskede Hegel at fremelske et mere universelt præg, bl.a. skulle sproget normaliseres og særnorkse træk udrenses. Den meget oplagsbevidste Ibsen indvilgede straks. Ibsen realiserede med Samfundets Støtter (1877), Et Dukkehjem (1879), Gengangere (1881) og Vildanden (1884) i praksis de teoretiske ideer for det problemdebatterende naturalistiske teater. -
AN ANALISIS and PRODUCTION of ARTHUR MILLER's ADI\PTATION of an ENEMY of the PEOPLE
AN ANALISIS AND PRODUCTION OF ARTHUR MILLER'S ADI\PTATION Of AN ENEMY OF THE PEOPLE ._. -~ BY HENRIK IBSEN By DENNIS LEROY SCllNEIDER qi Bachelor of .Arts Oklahoma Stat~ Univer!;!ity Stillwa. ter, Oklahoma 1968 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial f'Q.lfilllnent of the,requirements for the Degree of MASTER OF ARrS May, 1970 ,· ·' .v z_.,l AN ANALYSIS AND PRODUCTION OF ARTHUR MILLER~~""· ····,.,..,,,,,,. ADAPI'ATION OF~ ENEMY~ m PmPLE "·"·,,,,~ '·':'" BY HENRIK IRSEN .. ,, ···~ ~, ~ The~is Approved: ',.~Q~ / ii PREFACE; The purpose of this thesi1;1 is to do a comprehensive study ot Arthur Miller's adaptation of ,!!i Ene& ,2! ~ People by Henr~k Ibsen, as well as prepare a PrQduction Book descriptive of all the techrl.iques involved I in this production. I would iike to take this opportunity ~o express my appreciation for the assistance and gllidance given me by the following memoers of my coI11X11ittee: Professor Vivia Locke, chairman of the theatre division of the Department of Speech, .and my major adviser; and Dr. Fred 'l'ewe+l, head of the Department of Speech. I would iµ.so like to thank the members of Towr,i. and Gown Comm"Unity Theatre for their continued willing assistance in making the production of An ~ne5Y .2!~ Peo;e!e possible. In addj,tion, I would like to express ~y appreciation to my wife, Karen, for her patience and understanding while this work was being com- plated. iii TABLE OF CONTENTS Chapter Page I. INTROOOCTION • . • • 1 Pu:rpose . -
4 Institutional Change in Norway: the Importance of the Public Sphere6
Gunnar C. Aakvaag 4 Institutional Change in Norway: The Importance of the Public Sphere6 The goal of this chapter is to provide a new and better theoretical account of the overall pattern of institutional change in modern Norway by emphasizing the importance of the public sphere. One effective way to describe the modernization of Norway is as a cumulative process whereby new categories of individuals – peasants, workers and women – have gradually been included as full members in society (Koht, 1953; Furre, 2000; Slagstad, 1998, pp. 417–418; Rokkan, 2010; Sejersted, 2005, 2000, pp. 18–20 and 23–25). This social transformation has taken place through large-scale institutional changes that sociologists need to explain. This chapter argues that the four currently dominating theoretical models of institutional change are not fully up to this task for two reasons. Models that accentuate either external shocks or incremental accumula- tion cannot account for the highly ‘political’, goal-oriented and reflexively monitored aspect of overall institutional change in Norway, whilst the two dominant models of political collective decision making, voting and bargaining, cannot account for the high level of consensus that have fed into processes of institutional change both as their input and outcome. To overcome these deficits, this chapter takes a different approach, what might be called ‘deliberative’ or ‘discursive’ institutionalism (Schmidt 2008). It emphasizes what has been an essential aspect of Norwegian society at least since the middle of the -
Xia, Liyang Associate Professor at Centre for Ibsen Studies, University
Xia, Liyang Associate Professor at Centre for Ibsen Studies, University of Oslo Address: Henrik Wergelandshus, Niels Henrik Abels vei 36, 0313 OSLO, Norway Postal address: Postboks 1168, Blindern, 0318 Oslo, Norway Title: A Myth that Glorifies: Rethinking Ibsen’s early reception in China Author responsible for correspondence and correction of proofs: Xia, Liyang 1 A Myth that Glorifies: Rethinking Ibsen’s Early Reception in China Introduction 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. A Ying / Qian 1956; Ge 1982; Eide 1983; Tam 1984, 2001; He 2004, 2009; Chang 2004; Tian and Hu 2008; Tian and Song 2013). In 2014, when the National Theatre in Beijing staged A Doll’s House to commemorate the centenary of this premiere,1 most of the news reports and theatre advertisements cited the Spring Willow Society’s prior performance.2 Scholars and journalists who write about the history of A Doll’s House in China agree in general not only that the performance took place but that it was the first performance of an Ibsen play in China.3 I myself referred to this performance in my doctoral thesis (Xia 2013). In recent years, however, doubts have emerged not only about the claim that the Spring Willow Society performed A Doll’s House, but that the Society performed any plays by Ibsen. The following scholars have asserted that there is no concrete evidence that the performance of A Doll’s House took place: Seto Hiroshi (2002, 2015), Huang Aihua -
University of Warwick Institutional Repository: a Thesis Submitted for the Degree of Phd at The
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36168 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Critical and Popular Reaction to Ibsen in England: 1872-1906 by Tracy Cecile Davis Thesis supervisors: Dr. Richard Beacham Prof. Michael R. Booth Submitted for the degree of Doctor of Philosophy, University of Warwick, Department of Theatre Studies. August, 1984. ABSTRACT This study of Ibsen in England is divided into three sections. The first section chronicles Ibsen-related events between 1872, when his work was first introduced to a Briton, and 1888, when growing interest in the 'higher drama' culminated in a truly popular edition of three of Ibsen's plays. During these early years, knowledge about and appreciation of Ibsen's work was limited to a fairly small number of intellectuals and critics. A matinee performance in 1880 attracted praise, but successive productions were bowdlerized adaptations. Until 1889, when the British professional premiere of A Doll's House set all of London talking, the lack of interest among actors and producers placed the responsibility for eliciting interest in Ibsen on translators, lecturers, and essayists. The controversy initiated by A Doll's House was intensified in 1891, the so-called Ibsen Year, when six productions, numerous new translations, debates, lectures, published and acted parodies, and countless articles considered the value and desirability of Ibsen's startling modern plays.