Empire and culture in ibsen. Some notes on the dangers and ambiguities of interculturalism

Helland, Frode

doi:10.1080/15021860903489060

Cited by 7 publications

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“…The same can be said about the performance of the play. Peer Gynt, in spite of its critique of colonialism, has not been able to transcend the pull of orientalism (Helland 2009) and neither did the production. Its exotic portrayal of North Africa and the Middle East in Act 4 made no account for the geographical location of the production.…”

Section: Conclusion: Ibsen and Israeli Modernismmentioning

confidence: 99%

Exile, Pistols, and Promised Lands: Ibsen and Israeli Modernist Writers

Malone

2019

Humanities

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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.

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Section: Conclusion: Ibsen and Israeli Modernismmentioning

confidence: 99%

Exile, Pistols, and Promised Lands: Ibsen and Israeli Modernist Writers

Malone

2019

Humanities

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“…Nella storia scenica di Peer Gynt emerge del resto come alla lettura nazional-romantica -con la presenza obbligatoria delle musiche di Grieg -se ne affianchino altre antiromantiche nel corso del Novecento: in chiave psicoanalitica, esistenzialista, storico-politica e satirica, senza prescindere dalle dimensioni più inquietanti e crudeli del testo (Marker, Marker 1989, 9-45;Perrelli 2011b). Anche la critica ibseniana più recente ha mostrato maggiore attenzione verso la satira e la critica alla contemporaneità in Brand e Peer Gynt, e in questo capitolo assumono particolare rilievo i contributi di Pettersen Waerp (2010), Sandberg (2015) e Rees (2020) su Brand, e di Oxfeldt (2005), Helland (2009), Lisi (2013), ancora Rees (2014) e Walker (2014) su Peer Gynt. Dobbiamo effetti-13 Per l'autorialità di Ibsen, il dramma in quanto libro e letteratura mantenne una posizione centrale, in interazione con il dramma prodotto a teatro, tanto in Scandinavia quanto nella progressiva disseminazione europea, come emerge dall'accurata indagine di Fulsås e Rem (2018).…”

Section: Tempi Moderni E Satira Nei Quarti Attiunclassified

Scandinavica venetiana

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The series publishes philological, literary and cultural studies, as well as linguistic, translanguaging and glottodidactic studies with the specific subject matter of Scandinavian and Nordic languages and cultures from the Middle Ages to the Contemporary Age. Both monographic and edited volumes are planned. Also translations from Scandinavian languages (ancient and modern) into Italian, accompanied by critical and meta-textual apparatus, and critical editions of texts from the Nordic traditions, from the Middle Ages to the Contemporary Age, are included. Scandinavica venetiana aims to offer a publishing framework of a high scientific level to Scandinavian and Nordic studies practised in Italy and throughout the world, in relation to the growing interest both in the academic sphere and in commercial publishing, and intends to open up spaces for scientific elaboration and comparison, both to scholars already established and active in university research and teaching, and to young researchers who, starting with their doctorate, intend to undertake these research paths. The methodologies of philological, linguistic and literary-critical research, albeit in the legitimate diversity of accents, perspectives and instruments adopted, should converge on an idea of North and Scandinavia not as isolated and self-sufficient entities, but rather as entities that have grown, from the origins of the written tradition and cultural production up to the present time, in close relationship with Europe and the world, through the multi-directional exchange of knowledge and experience.

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Democratisation Process in Interculturalism: Staging Ibsen within a Folk Theatrical form in Bangladesh

Nilu

2014

Ibsen Studies

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Empire and culture in ibsen. Some notes on the dangers and ambiguities of interculturalism

Cited by 7 publications

References 0 publications

Exile, Pistols, and Promised Lands: Ibsen and Israeli Modernist Writers

Exile, Pistols, and Promised Lands: Ibsen and Israeli Modernist Writers

Scandinavica venetiana

Democratisation Process in Interculturalism: Staging Ibsen within a Folk Theatrical form in Bangladesh

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