...Jan Sjåvik Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy . By Toril Moi. Oxford: Oxford University Press, 2006. xvi + 396 pp. © 2008 by University of Washington 2008 Jan Sjåvik is professor of Scandinavian studies at the University of Washington. His recent...

...OTTO REINERT HAUGEN EINAR. Minneapolis: University of Minnesota Press, 1979. ix + 185 pp. $15.00, cloth; $6.95, paper. Copyright © 1980 by Duke University Press 1980 OTTO REINERT 199 Ibsen’s Drama: Author to Audience. By EINARHAUGEN...

.... doi 10.1215/00267929-2008-007 Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. By Toril Moi. Oxford: Oxford University Press, 2006. xvi + 396 pp. Scholars of Ibsen can be divided into two categories, those who regard him chiefly as a literary artist whose oeuvre should...

.... doi 10.1215/00267929-2008-007 Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. By Toril Moi. Oxford: Oxford University Press, 2006. xvi + 396 pp. Scholars of Ibsen can be divided into two categories, those who regard him chiefly as a literary artist whose oeuvre should...

.... doi 10.1215/00267929-2008-007 Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. By Toril Moi. Oxford: Oxford University Press, 2006. xvi + 396 pp. Scholars of Ibsen can be divided into two categories, those who regard him chiefly as a literary artist whose oeuvre should...

.... doi 10.1215/00267929-2008-007 Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. By Toril Moi. Oxford: Oxford University Press, 2006. xvi + 396 pp. Scholars of Ibsen can be divided into two categories, those who regard him chiefly as a literary artist whose oeuvre should...

... of Ibsen’s work as well as the larger theatergoing public. Some of the play’s many in- terpreters have found both the larger question of the play’s over-all meaning and the more specific question of the nature of Hedda’s prob- lems to be insoluble puzzles. Reviews of the first English production...

... and Social Sciences, Nanjing University. He is author of Henrik Ibsen and Modern Chinese Drama (2004). His articles have appeared in Comparative Drama , Ibsen Studies , Perspectives , and other English and Chinese journals. He is working on a book-length study of several modern Euro-American playwrights...

...-novelist-dramatist than cru- sading moralist-patriot-publicist, and not Ibsen, is the prototypal Norwegian Dichter: the artist as thinker who leads his people. Ibsen himself gave sanction to the bias when he praised Bj@msonfor making “his life his best poem” and when (perhaps) he wrote his own...

... to Hardy appears in Joyce’s first publication, a critique of Ibsen’s When We Dead Awaken that was printed in the Fortnightly Revim.l The essay is clearly an act of hero worship, wildly enthusiastic, but also unusually perceptive for a youth of seventeen. Naturally, any writer who is com...

... or poetry. But one aspect of modern Chinese thought and drama has long attracted both intellectuals and drama scholars: the influence of Ibsen. In the early twentieth century the spread of “Ibsen fever” led the influential journal New Youth (Xin qingnian) to publish a special issue...

... ‘masters,’ such as Ibsen and Flaubert,. but to the mass of public writing that surrounded him” (p. 9). Kershner’s central premise is nicely put: “Stephen, and probably Joyce as well, is something of an aesthetic Antaeus; he weakens if he goes too long without touching the earth” (p. 4). So...

...) rarely, if ever, begin a sentence and 1 Indices for Bjghson’s works, based upon 1,095,698 running words, are completed, but not yet published. Ibsen was excluded because most of his vocabulary has already been excerpted by the workers on the Norwegian dictionary in Oslo...

..., however, and it would be ungracious to dwell on them. For this is a book by someone who knows Ibsen and his plays well, who long has thought and talked about them, who does so again here both ’sagely and sensi- tively, who cares deeply about them, and who has the skill to communicate both his...

... Sigfusar Eymundssonar, 1955. Pp. xiii + 110. $4.00, cloth ; $3.50, paper. Le Gallienne, Eva (translator). Henrik Ibsen: Heddu Gabler. With a Preface and a New Translation. New York: New York University Press, 1955. Pp. 202. $2.50. Le Gallienne, Eva (translator). Henrik Ibsen...

... saturated with moral value, when they knew better. Moretti’s final chapter explores the works of Henrik Ibsen, praising him as the one who dared tell the truth about bourgeois capitalism, and Moretti underlines Ibsen’s accomplishment by contrast to Eliot in Middlemarch . Near her novel’s end, the sleazy...

... Papers: Selected to Represent the Work of the Society from 1886-1897 , 67 – 83 . New York : Macmillan . Bradford A. H. 1890 . “ Ibsen as an Interpreter of Life .” Independent (New York) , June 12 . Bradford Gamaliel Jr. 1897 . “ The Return of the Druses .” In The Boston...

.... Wheeler, Michael. The Art of Allusion in Victorian Fiction. New York: Harper & Row, Barnes & Noble Import Division, 1979. x + 182 pp. $22.50. Wisenthal, J. L. (editor). Shuw and Ibsen: Bernard Shaw’s “The Quintessence of Ibsenism” and Related Writings. Toronto, Buffalo, London: University...

... hundred and twenty-six essays dealing with Shakespeare, forty-one on Byron, ten on Emerson, fifty-eight on Victor Hugo, sixty-one on Zola, thirty-three on Cervantes, forty-two on Ibsen, seventy-nine on Tolstoy, forty on Plato, one hundred and nineteen on Virgil, six on Tagore, etc. This broad...

...” in the eighteenth century (p. 11). It is dubious whether there can be a meaning in the suggestion that “an Ibsen play might have been hooted off the stage of the Globe” (p. 92). Lucas’ edition is indeed valuable but certainly not “definitive” (p. 93). Eliot’s plea for the depersonalized actor needs...