Ibsen and the Modern Self

Description

The essays in this volume seek to place the Ibsenian self in the contexts of cultural changes amidst the rise of modernism and the experimentations with new ways of theatrical representation. Contributors to this volume are leading scholars and drama specialists from different parts of the world. Adopting critical approaches ranging from psycho-moral considerations to ideology and gender studies, they highlight some of the latest reflections on the self as manifested in Ibsen's texts. Contents Foreword Acknowledgements Introduction Self-knowledge and aesthetic consciousness in Ibsen and Hegel The Gyntian self The concept of «I» in Henrik Ibsen’s Peer Gynt Reflections on the relationship between Ibsen’s character Peer Gynt and Edvard Munch’s perception of the self Narrative identity and a question of character in Ibsen’s Rosmersholm The dialogic self in A Doll's House and The Wild Duck The emergence of androgynous women in A DOll's House and The Lady from the Sea Carp, the mermaid and the female self: Ethical thinking of gender norms in The Lady from the Sea The notion of moderation and Ibsen’s criticism of the average man Staging the epic self: Theatricality, philosophy and personality in Brand and Peer Gynt Emotions and the modern self in Ibsen’s poetry Danse Macabre: John Gabriel Borkman’s self in eco-critical perspective The child’s deformity and the mother’s role Seeing Nora in your mirror: The role of theatrical characters in the playing of self Control, surrender and self-transcendence: Notes on Shakespeare’s The Tempest and Ipbsen's The Master builder Portrayal of the modern self in When We Dead Awaken Ibsen in Dublin: A Nordic contribution to Irish modernity Master in reflection: An analysis of Lin Zhaohua’s The Master Builder Ibsen’s Nora re-presented: Female body and identities in China Doll Self and non-self: A Japanese view on Brand and Peer Gynt Notes on contributors