The Master Builder
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To View/Download the AP List of Free Response Titles
Titles from Open Response Questions* Updated from an original list by Norma J. Wilkerson. Works referred to on the AP Literature exams since 1971 (specific years in parentheses) Please note that only authors were recommended in early years, not specific titles.. A Absalom, Absalom by William Faulkner (76, 00, 10, 12) Adam Bede by George Eliot (06) The Adventures of Augie March by Saul Bellow (13) The Adventures of Huckleberry Finn by Mark Twain (80, 82, 85, 91, 92, 94, 95, 96, 99, 05, 06, 07, 08, 11, 13) The Aeneid by Virgil (06) Agnes of God by John Pielmeier (00) The Age of Innocence by Edith Wharton (97, 02, 03, 08, 12, 14) Alias Grace by Margaret Atwood (00, 04, 08) All the King’s Men by Robert Penn Warren (00, 02, 04, 07, 08, 09, 11) All My Sons by Arthur Miller (85, 90) All the Pretty Horses by Cormac McCarthy (95, 96, 06, 07, 08, 10, 11, 13) America is in the Heart by Carlos Bulosan (95) An American Tragedy by Theodore Dreiser (81, 82, 95, 03) American Pastoral by Philip Roth (09) The American by Henry James (05, 07, 10) Angels in America by Tony Kushner (09) Angle of Repose by Wallace Stegner (10) Anna Karenina by Leo Tolstoy (80, 91, 99, 03, 04, 06, 08, 09, 16) Another Country by James Baldwin (95, 10, 12) Antigone by Sophocles (79, 80, 90, 94, 99, 03, 05, 09, 11, 14) Anthony and Cleopatra by William Shakespeare (80, 91) Apprenticeship of Duddy Kravitz by Mordecai Richler (94) Armies of the Night by Norman Mailer (76) As I Lay Dying by William Faulkner (78, 89, 90, 94, 01, 04, 06, 07, 09) As You Like It by William Shakespeare (92 05, 06, 10, 16) Atonement by Ian McEwan (07, 11, 13, 16) Autobiography of an Ex-Colored Man by James Weldon Johnson (02, 05) The Awakening by Kate Chopin (87, 88, 91, 92, 95, 97, 99, 02, 04, 07, 09, 11, 14) B “The Bear” by William Faulkner (94, 06) Beloved by Toni Morrison (90, 99, 01, 03, 05, 07, 09, 10, 11, 14, 15, 16) A Bend in the River by V. -
Elsa Bernstein's Dämmerung and the Long Shadow of Henrik Ibsen
Birkbeck College University of London MA in Modern German Studies Elsa Bernstein’s Dämmerung and the long shadow of Henrik Ibsen Manfred Pagel Assessed essay (4000 words): April 2006 Core Course: History in German Literature Course Co-ordinator: Dr Anna Richards M. Pagel Introduction Nomen est omen. When the young Elsa Bernstein (1866-1949) decided to adopt a male pseudonym at an early stage of her writing career, as many women authors did in the late 19th century, she chose one that made an unmistakable allusion to the contemporary Norwegian dramatist Henrik Ibsen (1828-1906). Her assumed nom de plume of “Ernst Rosmer” an “audible echo of Ibsen”1, clearly owed its invention to his play Rosmersholm2. In this way she signalled her literary affinity with the dominant themes and style (described as Naturalism) favoured by Ibsen during the 1880s and 1890s, when he was establishing his enduring reputation as a masterful writer of social drama. The pen-name, Susanne Kord writes, “defined her as a disciple of one of the major playwrights of her time and simultaneously allied her with the German naturalist movement, which was centrally indebted to Ibsen’s dramatic work”3. Bernstein’s five-act play Dämmerung4, originally published in 1893, will serve here as reference text in an attempt to explore some aspects of her subject matter and treatment that may be at least partly attributable to Ibsen’s influence. The characterisation of the two main female roles, in particular, will be considered because the evolving position of women in modern society and the related issue of feminist emancipation from traditional bourgeois constraints formed a recurring topic in Ibsen’s plays, such as A Doll’s House5, Hedda Gabler6, and Little Eyolf7. -
I Will Begin My Talk Today by Considering Some of the Ways in Which Ibsen Is Not Classifiable As a Decadent Author
ROMANTIC REMAINS: IBSEN’S DECADENCE, WITH AND AGAINST GEORG LUKÁCS Olivia Noble Gunn This article emerges from two big questions: Who is Ibsen for the Hungarian Marxist critic Georg Lukács? and How does Ibsen fit into Lukács’s understanding of the history of western bourgeois literature? At stake in looking for answers to these questions is a more comparative (and less idealized) understanding of what makes Ibsen’s dramas modern or proto-modernist – or, most aptly in the case of his late works, neo-romantic. Of course, many scholars have insisted on versions of Ibsen’s romanticism. For example, in ‘Ibsen the Romantic’: Analogues of Paradise in the Later Plays, Errol Durbach explores both Ibsen’s romanticism and his counter-romanticism: “the paradoxical simultaneity of Romantic and counter-romantic attitudes which makes Ibsen a Romantic of extraordinary individuality, both celebrant and critic of a vision potentially redemptive and potentially ruinous” (Durbach, 1982, 6). Unlike Durbach, Lukács locates Ibsen decisively as a counter-progressive writer of the “era of decay.” I am interested in Lukács’s readings of Ibsen, precisely because he insists on this counter- progressive (and thus anti- or failed realist) current in Ibsen. I would argue that Ibsen turns or returns to the strange and extraordinary, the fantastic, and the subjective in his neo-romantic period, but does so in a mode of radical skepticism that both rejects the supposed progress of 19th century realism – that is, its claims to have moved beyond the romantic moment – and looks askance at the 20th century, predicting a repetition of idealization as degradation. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
Helle 2016 Polve
Poljarnyj vestnik: Norwegian Journal of Slavic Studies, vol. 19, 2016, pp. 1–14 Ibsen in Russia Revisited: The Ibsenian Legacy in the Symbolist World of Andrei Belyi Lillian Jorunn Helle The intellectual atmosphere of Russian fin de siècle was characterized by a strong fascination for Norway, its nature, its culture and its literature. A good example is the Norwegian playwright Henrik Ibsen who was a significant source of inspiration for Russian dramatists, writers and poets.1 The Russian symbolists in particular recognized him as a tutelary spirit and especially the “younger” symbolists, the so-called second generation of Symbolism, regarded his works and thoughts as a prefiguration of their own. Typically, the second generation developed their own interpretation of Ibsen which differed significantly from the dominant contemporary European attitude to his dramas: In the West, at the beginning of the last century, there was a tendency to underline the pessimistic, resigned sides of Ibsen.2 The younger Russian symbolists however, read him in another light, as a fighter and rebel calling for ground-breaking renewals, although perceived in esoteric, spiritual terms (cf. Nilsson 1958, 194ff). This specific reading of Ibsen corresponded to and intensified their own dynamic attitude. In opposition to the older symbolists with their “l’art pour l’art”-programs, the task of the younger symbolists’ was a much more ambitious one; their strategies were to bring forth a new world, make life into art and art into life. As the poet Marina Tsvetaeva once contended, [с]имволизм меньше всего литературное течение (1994, 258),3 epitomizing that this movement was not merely an aesthetical revival, but first and foremost a Weltanschauung and a life building project (жизне- творчество).4 In this respect it was conceived as a unique possibility to overcome the cultural anxiety of the age and to realize the leap into a reconstructed reality, an 1 For a general study of the influence of Ibsen in Russia, see Shaikevich (1974). -
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. -
MAX BEERBOHM AS a LITERARY CRITIC by BEVERLY JOAN
MAX BEERBOHM AS A LITERARY CRITIC by BEVERLY JOAN NORBY B.A., University of British Columbia, 1949 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1967 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by h.i>s representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGLISH The University of British Columbia Vancouver 8, Canada Date October, 1967 ABSTRACT The purpose of this thesis has been to define Max Beerbohm's critical literary principles, to evaluate his con• tribution to aesthetic criticism and thereby to determine his place in the critical tradition. The methods of investi• gation have been: to study the formative influences on the development of his critical principles and to evaluate the results of their application in Max's essays and dramatic criticisms. From this study it is evident that as a man and as an artist Max was "formed" during the Eighteen-nineties. By nature he was an intellectual dandy who always preferred strong, narrow creative personalities like himself. He was detached, fastidious, witty, and humane, and he was noted for his wisdom and sound common sense, even as a very young man. -
A Doll's House Has Been a Trailblazer for Women's Liberation and Feminist Causes Around the World
A Doll’s House Resource Guide – BMCC Speech, Communications and Theatre Arts Department A Doll’s House Resource Guide Spring 2014 Speech, Communications and Theatre Arts Department Theatre Program Borough of Manhattan Community College Dates Wed., April 23rd at 2PM & 7PM Thurs., April 24th at 7 PM Fri., April 25th at 2PM & 7PM Sat., April 26th at 7PM Location BMCC, Main Campus 199 Chambers Street Theatre II Admission is Free Table of Contents Page 2 Henrik Ibsen (1828-1906) Norwegian Playwright Page 3 Ibsen around the World Page 4 Director’s Notes on the 1950s Play Adaption Page 5 Advertising from the 1950s Page 6 Ibsen and His Actresses Page 7 Questions for the Audience, Sources, and Further Reading A Doll’s House Resource Guide – BMCC Speech, Communications and Theatre Arts Department Henrik Ibsen (1828-1906) Norwegian Playwright Why Ibsen? Henrik Ibsen, with the exception of Shakespeare, is the most frequently produced playwright in the world. He is also universally known as "The Father of Modern Drama" and "The Father of Realistic Drama." For over a century and a half, Ibsen's plays have been renowned for displaying a fierce revolt by the individual against an oppressive middle-class society. Specifically, A Doll's House has been a trailblazer for women's liberation and feminist causes around the world. Portrait of Henrik Ibsen. Photograph by Gustav Borgen . Ibsen Timeline 1828 Born in Skien, a small town in Norway. 1843 At 15 he moves to another small town, Grimstad, and works as an apprentice in a pharmacy. 1851 He moves to Bergen and takes on the position of Artistic Director and Dramatist at the Bergen Theatre. -
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. -
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. -
Production Staff
PRODUCTION STAFF S1:age Management MARY MANCHEGO,· assisted b-y jEFFREY EMBLER, ALBERT HEE Company Manager MARGARET BusH Lighting LAURA GARILAO and RoY McGALLIARD, assisted by DANIEL S. P. YANG, MIR MAGSUDUS SALAHEEN, CAROL ANZAI Costume Maintenance CARROLL RrcE, assisted by PEGGY PoYNTZ Costume Construction FRANCES ELLISON, assisted by DoRoTHY BLAKE, LouiSE HAMAl Scene Construction and Painting HELENE SHIRATORI, AMY YoNASHIRo, RrcHARD YoUNG, jEANNETTE ALLYN, FLoRENCE FUJITANI, RoNDA PHILLIPs, CYNTHIA BoYNToN, RosEMARIE ORDONEZ, JoAN YuHAs, IRENE KAME~A, WILLIAM SIEVERS, JoHN LANE, CHRISTOBEL KEALOHA, MILDRED YEE, CAROLYN LEE, ERNEST CocKETT, LoRRAINE SAITO, JumTH BAVERMAN, JosEPH PrscroTTE, DENNIS TANIGUCHI, jANICE YAMASAKI, VIRGINIA MENE FEE, LoursE ELSNER, CHARLES BouRNE, VERA STEVENSoN, GEORGE OKAMOTO Makeup MrR MAGsuous SALAHEEN, assisted by BARBARA BABBS Properties AMANDA PEcK, assisted b)• MARY MANCHEGO Sound ARTHUR PARSON Business Management JoAN LEE, assisted by ANN MIYAMOTO, jACKIE Mrucr, CAROL SoNENSHEIN, RANDY KrM, Juoy Or Public Relations JoAN LEE, assisted by SHEILA UEDA, DouG KAYA House Management FRED LEE GALLEGos, assisted by DAVE McCAULEY, HENRY HART, PAT ZANE, VERNON ToM, CLYDE WoNG, Eo GAYAGAS Ushers PHI DELTA SIGMA, WAKABA KAI, UNIVERSITY YWCA, EQUESTRIANS, HUI LoKAHI Actors' Representatives ANN MIYAMOTO, WILLIAM KROSKE Members of the classes in Dramatic Productio11 (Drama 150), Theatre Practice (Drama 200), and Advat~ced Theatre Practice (Drama 600) have assisted in the preparation of this production. THEATRE GROUP PRODUCTION CHAIRMEN Elissa Guardino Joan Lee Amanda Peck Fred Gallegos Ann Miyamoto Clifton Chun Arthur Parson Carol Sonenshein Lucie Bentley, Earle Erns,t, Edward Langhans, Donald Swinney, John Dreier, ~rthur Caldeira, Jeffrey Embler, Tom Kanak (Advisers-Directors) ACKNOWLEDGMENT The Theatre Group wishes to thank Star Furniture Co. -
Hedda Gabler, Nationaltheatret – 2018 HEDDA GABLER
Side 1 Skolemateriell Hedda Gabler, Nationaltheatret – 2018 HEDDA GABLER Av Henrik Ibsen Utarbeidet av teaterpedagog Gunhild Aarebrot Kilde for Nationaltheatret Gunhild Aarebrot Utarbeidet av teaterpedagog Pedagogisk studiemateriell for 10. trinn og Videregående skole Side 2 Skolemateriell Hedda Gabler, Nationaltheatret – 2018 MEDVIRKENDE: KJERSTI HERMANN TROND BOTN SANDAL SABADO ESPEN SEIM Hedda Gabler Jørgen Tesman Assessor Brack MARIKA HANNA MARIA VEA BENJAMIN ENSTAD GRØNNEBERG HELSTAD Tante Julle Thea Elvested Eilert Løvborg KUNSTNERISK LAG: Regissør Sofia Jupither Scenografi Erlend Birkeland Kostymedesign Ellen Ystehede Lysdesigner Phillip Isaksen Maskør Wibke Schuler Dramaturg Mari Vatne Kjeldstadli Side 3 Skolemateriell Hedda Gabler, Nationaltheatret – 2018 Studiemateriell, Hedda Gabler Dette studiematerialet er utviklet for elever på ungdomsskole 10. trinn og videregående skole, og det møter kompetansemål fra Læreplanen for norsk, KRLE, drama, psykologi og samfunnsfag. Studiematerialet er til for å inspirere lærere og elever til å dypdykke ned i Henrik Ibsens verk og for å stimulere til refleksjon rundt stykkets tema, innhold og om teaterkunsten. Studiematerialet forbereder også elevene på teateropplevelsen, slik at de kan få enda mer ut av forestillingen og møtet med teatret. Oppgavene er inndelt i for- og etterarbeid, og det er fritt frem å plukke ut hvilke oppgaver som passer for deres respektive undervisningsopplegg, eller om dere ønsker å benytte dere av studiematerialet i sin helhet. De fleste oppgaver kan besvares både skriftlig eller som muntlige refleksjonsoppgaver. Dramaøvelsene kan utføres i vanlige klasserom, og du trenger ikke være dramalærer for å gjennomføre dem. HUSK: Teater er scenekunst og står fritt til å tolkes på mange ulike måter. Det finnes mange lag i en teaterforestilling. Teater gir ulike assosiasjoner og snakker til oss på ulikt vis, og derfor har heller ikke refleksjonsoppgavene og tolkningsoppgavene i studiematerialet noen fasit.