Primary texts
Plays
Peer Gynt (1867), preferably in Brand and Peer Gynt, London: Penguin, 2016.
Pillars of the Community (1877), preferably in A Doll’s House and other Plays, London: Penguin, 2016.
A Doll’s House (1879), preferably in A Doll’s House and other Plays, London: Penguin, 2016.
Ghosts (1881), preferably in A Doll’s House and other Plays, London: Penguin, 2016.
Hedda Gabler (1890) (any edition)
Dietrich Eckart, Henrik Ibsens Peer Gynt (1912) (translated excerpts)
Adaptations and films (see teaching schedule for information on screenings)
Fritz Wendhausen, Peer Gynt (1934)
Detlef Sierk (Douglas Sirk), Stützen der Gesellschaft (1935)
Harald Braun, Nora (1944)
Critical literature
(The compendium is available for purchase at Akademika.)
In compendium
Aslaksen, Kamilla. 1997. “Ibsen and Melodrama.” Nordic Theatre Studies 10: 36–50.
Benjamin, Walter. 1999. “The Task of the Translator.” In Illuminations, edited and with an Introduction by Hannah Arendt, translated by Harry Zorn, 70–82. London: Pimlico.
Brooks, Peter. 1976. “The Melodramatic Imagination.” Chap. 1 in The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess, 1–23. New Haven: Yale University Press.
Casanova, Pascale. 2004. The World Republic of Letters. Cambridge: Harvard University Press, 126–163.
Englert, Uwe. 1991. “Ibsen and Theatre Life in Nazi Germany.” In Contemporary Approaches to Ibsen 7, edited by Bj?rn Hemmer and Vigdis Ystad, 85–100. Oslo: Norwegian University Press.
Fish, Stanley. 2001. “Yet Once More”. In Reception Study, edited by James L. Machor and Philip Goldstein, 29–38. New York and London: Routledge.
Gledhill, Christine and Linda Williams, eds. 2018. “Introduction.” In Melodrama Unbound: Across History, Media, and National Cultures, 1–11. New York: Columbia University Press.
Halliday, Jon. 1971. Sirk on Sirk (excerpts). London: Secker & Warburg
Hanssen, Jens-Morten. 2018. Ibsen on the German Stage 1876–1918. A Quantitative Study. Tübingen: Narr verlag, 31–61.
Jauss, Hans Robert. 2001. “The Identity of the Poetic Text in the Changing Horizon of Understanding”. In Reception Study, edited by James L. Machor and Philip Goldstein, 7–28. New York and London: Routledge.
Risi, Clemens. 2011. “Werner Egk’s Peer Gynt in Berlin 1938: Opera and Politics.” In Global Ibsen: Performing Multiple Modernities, edited by Erika Fischer Lichte, Barbara Gronau, and Christel Weiler, 176–187. New York: Routledge.
Witte, Karsten. 1986. “How Nazi Cinema Mobilizes the Classics: Schweikart’s Das Fra?ulein von Barnhelm (1940).” In German Film and Literature: Adaptations and Transformations, edited by Eric Rentschler, 103–116. New York: Routledge.
Available online and to be made available to the students.
(Some of these articles might be available only when connected to the UiO-network.)
D’Amico, Giuliano. 2013. Domesticating Ibsen for Italy. Bari: Edizioni di Pagina, 131-166.
---. 2014. “Six Points for a Comparative Ibsen Reception History”. Ibsen Studies 14 (I): 4–37. (https://doi.org/10.1080/15021866.2014.937151)
Fuls?s, Narve and Tore Rem. 2018. “European Breakthrough”. In Ibsen, Scandinavia, and the Making of World Drama, 140–174. Cambridge. Cambridge University Press. (https://doi.org/10.1017/9781316946176.008)
Helland, Frode, Ibsen in Practice. London: Bloomsbury, 119-200. (https://ebookcentral.proquest.com/lib/oslo/detail.action?docID=1983215)
Helland, Frode and Julie Holledge. 2016. “Mapping the early Noras.” In A Global Doll’s House. Ibsen and Distant Visions, 29–70. London: Palgrave Macmillan. (http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=1336535&site=ehost-live)
Holt, Thor. 2016. “?lkjellermennesket.” Vagant, no. 3–4: 50–57.
Huq, Sabiha. 2019. “Robert Mshengu Kavanagh: A Strong Voice against Apartheid and Oppression in Southern Africa” (an interview). Published online at thedailystar.net on January 19, 2019. (https://www.thedailystar.net/literature/news/robert-mshengu-kavanagh-strong-voice-against-apartheid-and-oppression-southern-africa-1689670)
Janss, Christian. 2017. “When Nora Stayed: More Light on the German Ending”. Ibsen Studies 17 (I): 3–27. (https://doi.org/10.1080/15021866.2017.1324359 )
Shepherd-Barr, Kirsten. 2012. “Ibsen in France from Breakthrough to Renewal”. Ibsen Studies 12 (I): 56–80. (https://doi.org/10.1080/15021866.2012.695481)
Tam, Kwok-kan. 2013. “Chineseness in Recreating Ibsen: Peer Gynt in China and Its Adaptations”. Interlitteraria 17: 267–280. (https://doi.org/10.12697/IL.2012.17.21 )
Witte, Karsten. 1998. “The Indivisible Legacy of Nazi Cinema.” New German Critique, no. 74 (Spring–Summer 1998): 23–30. (https://www.jstor.org/stable/488488 )
Xia, Liyang. 2018. “A Myth that Glorifies: Rethinking Ibsen’s Early Reception in China”. Ibsen Studies 18 (II), 141–168. (https://www.tandfonline.com/doi/abs/10.1080/15021866.2018.1550868)
Xia, Liyang. 2013. “Heart Higher than the Sky: Reinventing Chinese Femininity through Ibsen’s Hedda Gabler”. In Frode Helland and Julie Holledge (ed.), Ibsen Between Cultures, 113–142. Oslo: Novus Forlag.
Suggested background reading
Fuls?s, Narve and Tore Rem. 2018. Ibsen, Scandinavia, and the Making of a World Drama. Cambridge. Cambridge University Press.
Willis, Ika. 2017. Reception. London: Routledge.