“Homes for Human Beings” — a Spatial Reading of Ibsen’S the Master Builder
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Oluf Wold Tornes Malerier Sett I Relasjon Til Symbolismen På 1890-Tallet Og I Overgangen Til Den Dekorative Retning I Norsk Kunst Etter 1900
Oluf Wold Tornes malerier sett i relasjon til symbolismen på 1890-tallet og i overgangen til den dekorative retning i norsk kunst etter 1900 Kristine Goderstad Masteroppgave i kunsthistorie 120 poeng Veileder Professor Øyvind Storm Bjerke Institutt for filosofi, idè- og kunsthistorie og klassiske språk Humanistisk fakultet Vår 2020 I II Oluf Wold Tornes malerier sett i relasjon til symbolismen på 1890-tallet og i overgangen til den dekorative retning i norsk kunst etter 1900 Masteroppgave i kunsthistorie Kristine Goderstad III © Kristine Goderstad 2020 Oluf Wold Tornes malerier sett i relasjon til symbolismen på 1890- tallet og i overgangen til den dekorative retning i norsk kunst etter 1900 Kristine Goderstad https://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo Forord IV Jeg vil gjerne få takke alle som har hjulpet meg underveis for hjelp og støtte under arbeidet med masteroppgaven: -Professor i kunsthistorie Øyvind Storm Bjerke for god veiledning og nyttige innspill under arbeidet. -Professor i kunsthistorie Marit Werenskiold som opprinnelig gav meg interessen og inspirasjonen til å lese og skrive om Oluf Wold Torne og kunstnere i hans samtid. -Cecilia Wahl, Oluf Wold Tornes barnebarn som velvillig har gitt meg innsyn i korrespondanse og sin private kunstsamling. -Turid Delerud, daglig leder ved Holmsbu Billedgalleri for all inspirasjon og hjelp. -Jeg må også få takke mine medstudenter Reidun Mæland og Cecilie Haugstøl Dubois som har vært til gjensidig støtte og inspirasjon gjennom hele studietiden. -En stor takk vil jeg også gi til mine venner som har støttet meg, og spesielt May Elin Flovik som har hjulpet til med korrigeringer og inspirerende innspill rundt oppgaven. -
A Doll's House Is a Manifesto of Universal Feminism
IRWLE VOL. 11 No. I January 2015 1 Re-interpreting A Doll’s House through Post-modernist Feminist Projections Md. Amir Hossain For long centuries, women in the traditional social order and system have always been considered subservient to men. In patriarchal Bourgeois society, the matriarchal community has been "humiliated", "afflicted", "silenced" and "tortured" socially, politically, culturally and economically. With the post-modernizing age, women began to see the universe with their own eyes and not through the male gaze. In this paper, I want to focus on the powerful woman character, Nora Helmer as impacted on Ibsen’s A Doll’s House. Through this adventurous and revolutionary woman, my purpose is to reach the feministic message out to the post-modern generations. It aims to depict and examine critically feministic issues through portraying Nora Helmer who is the representative of not only the 19th century Scandinavian Bourgeois order and custom but also the universal feminism. She has raised a fiery voice or initiated a dreadful revolution against the traditional customs and gender discrimination with a view to equalizing human rights. In the play, the dramatist has prioritized the female domination and power more than the male pelf and rule. The aim of the playwright is to emphasize upon the female power with a view to repressing the male domination and tradition. Actually, the purpose of my paper is to focus on the feminist message as articulated in Ibsen’s A Doll’s House. Considering the femme fatale character of Ibsen, the most renowned and powerful playwright, also known as the father figure of the post-modern era writing in Norwegian language, especially the powerful and domineering female protagonist cum heroine, Nora Helmer. -
A Study of the Protagonists in Three Plays by Henrik Ibsen---"The Master Builder", "John Gabriel Borkman", and "When We Dead Awaken"
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1973 What Price Greatness: A Study of the Protagonists in Three Plays by Henrik Ibsen---"The Master Builder", "John Gabriel Borkman", and "When We Dead Awaken" Janet Rose Fuchs College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Scandinavian Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Fuchs, Janet Rose, "What Price Greatness: A Study of the Protagonists in Three Plays by Henrik Ibsen--- "The Master Builder", "John Gabriel Borkman", and "When We Dead Awaken"" (1973). Dissertations, Theses, and Masters Projects. Paper 1539624815. https://dx.doi.org/doi:10.21220/s2-7wrb-5n62 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. WHAT PRICE GREATNESS? : A STUDY OF THE PROTAGONISTS IN *» THREE PLAYS BY HENRIK IBSEN—THE MASTER BUILDER, JOHN GABRIEL BORKMAN, AND WHEN WE DEAD AWAKEN A T hesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Janet R0 Fuchs ProQuest Number: 10625271 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. -
Ord Fra Presidenten Spesiell Fødselsdager Special
****************************************** SPESIELL FØDSELSDAGER ORD FRA PRESIDENTEN SPECIAL BIRTHDAYS Don't we all appreciate the beautiful “Mountain Majesty” HeART sculpture at the entrance to Good Samaritan even more, now that we have seen and heard how Kathy and Ron Browne used their artistic talents to put it all together? It was a very interesting and educational program! At the Leadership Conference on February 6th many ideas were exchanged between the lodges. We thank Diane Molter and Lyle Berge for great direction. We were proud to hear that due to our increase in membership here in Stein Fjell and the installation of Storfjell Lodge, Zone 8 was able to maintain its membership numbers this year. All the lodges lent supportive ideas to one another, to attract new members and retain present ones. Think about what a good experience it would be to represent Stein Fjell as a delegate to the District Six Convention in Modesto, CA June 23-26. Our Lodge is Marian Erdal (L) gir blomster til Tillie Schopbach – allowed five delegates. Finances will be discussed at the som er 101 år gammal og Charter og Golden Medlem March Lodge meeting. If you are interested in representing Stein Fjell at the convention, have someone nominate you from the floor at this meeting. Our recent surveys revealed that the MOST WANTED extra program is a Syttende Mai Celebration. SAVE THE DATE – our Syttende Mai Celebration is set for Sunday, May 16th at the Pavilion at Good Samaritan. We thank Ron Browne for securing this facility. MARK YOUR CALENDARS! Much more information will be in the April and May Postens! As you see, there are many activities coming up! Look for the article on the upcoming dinner and show, and make your reservations with Barbara Nolin. -
Storberget Resigns from Post
(Periodicals postage paid in Seattle, WA) TIME-DATED MATERIAL — DO NOT DELAY Arts & Style Julegaveforslag: Special Issue Review of Til din fiende: tilgivelse. Til en motstander: toleranse. Til en venn: ditt Welcome to the “Luminous hjerte. Til en kunde: service. Til alle: Christmas Gift nestekjærlighet. Til hvert barn: et godt Modernism” eksempel. Til deg selv - respekt. Guide 2011! Read more on page 3 – Oren Arnold Read more on pages 8 – 18 Norwegian American Weekly Vol. 122 No. 42 November 18, 2011 Established May 17, 1889 • Formerly Western Viking and Nordisk Tidende $1.50 per copy Norway.com News Find more at www.norway.com Storberget resigns from post News City officials in Oslo, faced with Grete Faremo budget cuts, considered drop- ping their annual gift of large appointed city Christmas trees to Lon- don, Reykjavik and Rotterdam, as Minister of to save money. They appar- ently didn’t want to be seen as Justice Scrooge, though, and the trees will be sent as usual. (blog.norway.com/category/ STAFF COMPILATION news) Norwegian American Weekly Sports Norway’s cross country ace, Pet- After six years of serving as ter Northug, captured third place Norway’s Minister of Defense and in the 15km seaason opener in the Police, Knut Storberget stepped Bruksvallarn, Sweden on Sat- down from his post on Nov. 11. urday. Maurice Manificat of He was one of Norway’s lon- France won, with Sweden’s Jo- gest-serving justice ministers ever. han Olson in 2nd. Northug was “I have four good reasons to very pleased with his placing resign,” he told NRK, referring to in the firsts race of the season, his wife and three daughters back considering the lack of snow home in Elverum, Hedmark Coun- this winter. -
Nationality and Community
Nationality and Community in Norwegian Art Criticism around 1900 Tore Kirkholt Back in 1857, the Norwegian writer Bjørnstjerne Bjørnson (1832– 1910) considered the establishment of a theatre institution in Christiania (Oslo) as a vital necessity for the nation. One of his main arguments for having such an institution in Norway was what he saw as a lack of certainty, of self-confidence, in the people of Norway. This lack of confidence was easy to spot when a Norwegian stepped ashore on a foreign steamer-quay. He would be groping for his sense of ease, and end up conducting himself in a ‘rough, short, almost violent manner’, which gave an uncomfortable impression.1 In Bjørnson’s narrative, this feeling of uncertainty relates to the theme of modernity. Bjørnson described his home country as a small America – where factories and mining were expanding – dominated by the sheer material life. The solidity of tradition had gone; it was a time of flux, decoupled from the past. Modernity’s splitting of traditions was a common theme in most European countries, so why was the rough, short and violent behaviour so characteristic of Norwegians? According to Bjørnson, it was because Norway did not have an artistic culture that could negotiate the feeling of fragmentation and uncertainty. Arts such as theatre, music, painting and statuary could express what was common in what seemed like fragments. The arts could 1 Bjørnstjerne Bjørnson, ‘En Stor- unite. However, cultural institutions that could support the arts thingsindstilling’, Morgenbladet, 21 June 1857. ‘Man kan f. Ex. paa en suffered from a lack of funding, a vital deficiency of Norwegian udenlandsk Damskibsbrygge meget godt se, det er en Normand, som society. -
Nikolai Astrup in Dulwich
Megan Bradshaw Nikolai Astrup in Dulwich Painting Norway: Nikolai Astrup, Dulwich Picture Gallery, until 15 May 2016 I wished . to wash myself in the raw colours of Western Norway in order to cleanse myself of everything that I may have ingested from the art of others in order to escape from all the influences and to arrive at my own [style] . – Nikolai Astrup Since 1905, Nikolai Astrup has been lionized in Norwegian art history. The year marked Norway’s independence from Sweden, ending four centuries of foreign rule, as well as the artist’s first exhibition. But the abounding, verdant glories of Astrup, who painted so prolifically and died so young, are little recognized outside his home country. Bringing together over 120 oil paintings and archival material, many on public display for the first time, “Painting Norway: Nikolai Astrup 1880-1928” is the artist’s first major international exhibition, commencing at London’s Dulwich Picture Gallery. The exhibition will then return full circle to Oslo’s Henie Onstad Kunstsenter museum, before spending the winter in Germany, at Kun- sthalle Emden. The first scholarly literature in English on Astrup was pub- lished in 2010; the exhibition in Dulwich is, in effect, the first time that the Norwegian artist has been transported and translated for English-speaking viewers. ‘Nikolai Astrup is considered the quintessential Norwegian artist’, the art historian MaryAnne Stevens states in the show’s exceptional catalogue. During the two decades leading up to independence, young Norwegian artists, including -
“Theatre Phenomenology” and Ibsen's the Master Builder
NORDIC THEATRE STUDIES Vol. 31, No. 1. 2019, 124-140 “Theatre Phenomenology” and Ibsen’s The Master Builder DANIEL JOHNSTON ABSTRACT How might an actor find inspiration from philosophy to build a world on stage? This article examines how phenomenology can offer a framework for creating performance and a vocabulary for action in rehearsal. Taking Henrik Ibsen’s The Master Builder as a case-study, a number of exercises and approaches are suggested for exploring the text while drawing on Martin Heidegger’s lecture, “Building, Dwelling, Thinking” which ponders the nature of “building”. Far from merely “constructing” an environment, essentially, building is “dwelling”. As the characters in Ibsen’s drama go about their dwelling, actors must build a world by bridging the gap between the stage, the ensemble, and the audience. KEYWORDS Phenomenology, Ibsen, The Master Builder, Heidegger, Building, Dwelling, Thinking, The Fourfold, Being, Rehearsal ISSN 2002-3898 © Daniel Johnston and Nordic Theatre Studies PEER REVIEWED ARTICLE Open access: https://tidsskrift.dk/nts/index Published with support from Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS) DOI: 10.7146/nts.v31i1.113005 Nordic Theatre Studies “Theatre Phenomenology” and Ibsen’s The Master Builder Introduction What does it mean to build a world? Humans do it in their everyday activities and interactions with others. Actors build a world in a different way. This article examines how one of continental philosophy’s most significant movements— phenomenology—can examine the meaning of “world” and provide a fertile source of inspiration for creative practice. Theatres are uniquely located at the intersection of multiple worlds—both real and imagined—of actors, characters, and audiences.1 This connection permits the theatrical event to explore what it means to make a world in a fictional context while also paying attention to the social context of the performance. -
Research Article Introduction Henrik Ibsen Presents 19
December 2019 e-ISSN: 1857-8187 p-ISSN: 1857-8179 Research Article Literature EMPOWERMENT, EROTIC PASSION, AND SEXUAL HARASSMENT IN Keywords: Empowerment, Erotic Passion and Love, Henrik Ibsen, Louka, Rebecca West, IBSEN’S ‘ROSMERSHOLM’ and Sexual Harassment. Amir Mohammad Hossain M. Phil in English JU & PhD (Research Fellow) in English, JU, Bangladesh. Abstract This article would like to present a critical analysis on Ibsen’s playRosmersholm and its female protagonist, Rebecca West. For this purpose, the whole article aims to look at empowerment, modern woman, erotic passion and love, sexual harassment through which female character has been investigated. It aims to analyze Ibsen’s treatment of women during 19th-century Norway. It would like to make also a comparative study between Rebecca West and Louka with a view to fostering Ibsen’s and Shaw’s attitudes towards women of their contemporary age. In this way the aim of the researcher is to highlight the mystery of lower class women of a helpless society where they have no right, freedom and say. Introduction Henrik Ibsen presents 19th-century Norwegian middle class women status and social reality in the play Rosmersholm. The playwright would like to place a vivid picture of radicalization of the Norwegian society to make the case of its protagonist’s apostasy appear to be faithful. Through the art of characterization, he would like to present the political system of 19th- century conservatives and liberals in Norway. Ibsen wants to highlight the charismatic power through the social pressure which is governed by social system. In terms of his feminist creation, Rebecca is a glaring example of a charismatic power. -
Kindle // Four Major Plays: Doll's House; Ghosts; Hedda Gabler; And
Four Major Plays: Doll's House; Ghosts; Hedda Gabler; and the Master Builder \\ PDF ~ CM8RZKSJ33 Four Major Plays: Doll's House; Ghosts; Hedda Gabler; and the Master Builder By Henrik Ibsen, James McFarlane, Jens Arup Oxford University Press. Paperback. Book Condition: new. BRAND NEW, Four Major Plays: Doll's House; Ghosts; Hedda Gabler; and the Master Builder, Henrik Ibsen, James McFarlane, Jens Arup, Taken from the highly acclaimed Oxford Ibsen, this collection of Ibsen's plays includes A Doll's House, Ghosts, Hedda Gabler, and The Master Builder. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. READ ONLINE [ 7.85 MB ] Reviews Completely one of the best publication I have actually read. Indeed, it is perform, nonetheless an interesting and amazing literature. Your lifestyle span will likely be transform when you complete reading this book. -- Mrs. Agustina Kemmer V Very useful to all of class of individuals. This really is for all those who statte there had not been a worthy of looking at. I am just very happy to let you know that here is the finest ebook i have got go through within my individual daily life and might be he finest ebook for actually. -- Delores Mitchell PhD DMCA Notice | Terms. -
The Scandinavian Folk Tale (Scandinavian Contributions to World Literature)
The Scandinavian Folk Tale (Scandinavian Contributions to World Literature) CL 323 34480 EUS 347 36585 GSD 341K 38200 MWF 3:00 - 4:00 Virtual Instructor: Sandra Ballif Straubhaar, Germanic Studies Dept. Office Hours: MWF 4:00-4:15 (after class on Zoom) [email protected] Required texts – acquire these, physically or digitally: 1. (Called Asbjørnsen & Moe / Nunnally, or just Nunnally, below) The Complete and Original Norwegian Folktales of Asbjørnsen and Moe Hardcover – September 17, 2019 by Peter Christen Asbjørnsen (Author), Jørgen Moe (Author), Tiina Nunnally (Translator), Neil Gaiman (Foreword) YOU NEED THIS BOOK BY FEBRUARY 8 FOR MODULE 3. 2. (Called NunnallyAndersen below) Fairy Tales (Penguin Classics Deluxe Edition) Paperback – Illustrated, March 28, 2006 by Hans Christian Andersen (Author), Anders Nilsen (Illustrator), Tiina Nunnally (Translator), Jackie Wullschlager (Introduction) YOU NEED THIS BOOK BY FEBRUARY 3 FOR MODULE 2. 3. (Swedish collection – called Blecher below) Swedish Folktales And Legends Paperback – Illustrated, August 13, 2004 by Lone Thygesen Blecher (Author), George Blecher (Author) YOU NEED THIS BOOK BY APRIL 21 FOR MODULE 12. Other books we’ll be looking at – either in PDF form under Files on Canvas, or I’ll be reading aloud from them: Asbjørnsen, Peter Christen & Jørgen Moe. Samlede eventyr (2 vols.). Illustrations by multiple 19th- and 20th-century artists (see March 12, below). Oslo: Gyldendal, 1989. (Called Ev below.) Bauer, John (illustrator). An Illustrated Treasury of Swedish Folk and Fairy Tales. Edinburgh: Floris Books, 2004 and 2019. (Called Blant tomtar och troll below.) Booss, Claire, ed. Scandinavian Folk & Fairy Tales. New York: Avenel Books, 1984. (Called Booss below.) Boucher, Alan (tr.) Adventures, Outlaws and Past Events: Icelandic Folktales III. -
Languages of Film and Theatre: Project Report
LENA MÜLLER (STUDENT NUMBER 0841775) LANGUAGES OF FILM AND THEATRE: PROJECT REPORT ON THE SET DESIGN FOR THE PLAY LITTLE EYOLF BY HENRIK IBSEN THESIS SUBMITTED AS WRITING COMPONENT TO THE MASTER MEDIA DESIGN PROGRAMME, PIET ZWART INSTITUTE, WILLEM DE KOONING ACADEMY, 2012. SUPERVISOR: STEVE RUSHTON SECOND READER: SIMON PUMMEL CONTENTS Introduction 1. Research and practice during the Master Course 1.1 Video in live performance 1.2 The Birthday Party 1.3 Land Without Words 2. Design for the theatre performance Little Eyolf 2.1 Opening scene 2.2 Content of the play 3. Developing a concept for Little Eyolf 3.1 Ibsen and nature 3.2 Representation of nature in a theatre space 3.3 ‘Intermedial’ approach 3.4. Multiple perspectives Conclusion Bibliography Introduction In my worK as theatre designer I have often merged film and video in designs for live- performances. In my stage images, I have explored how cinematic principles and the conventions of theatre can interact. This thesis is a report on the research at Piet Zwart Institute, which formed the basis of my last three set designs. For each of the designs, I will elaborate how my engagement with film as a medium has influenced my worK as a theatre designer. Each project reflects on the nature of the frame and the cinema screen, merging their properties with the perspectives of theatrical space. All these projects approached the presence of the screen differently. Firstly, a production of Harold Pinter’s The Birthday Party (directed by Susanne Kennedy) creates the illusion of a screen by putting the actors inside a framed rectangular box within a greater, darKened space, liKe people moving inside a television screen.