Ibsen

Suggests that the household is the key unit of Shakespeare's tragedy--and that it possesses a double-sense of itself, a double-sense shared by its members (including the Prince), looking on the one hand towards the Oikos of Greek Tragedy and on the other towards the bourgeois household of Ibsen.

Taiwanese actor and director Wu Hsing-kuo (Wu Xingguo) has produced theatre works around the globe, including Medea, Macbeth, Hamlet, The Oresteia, The Tempest, King Lear, and Waiting for Godot. He trained for the male warrior role type in Beijing opera (jingju) and as a modern dancer.

I denne masteroppgaven undersøker jeg hvordan løgn og sannhet som tematisk tilnærming til scenene omtalt som «bukkerittet» og «mor Åses død» i Ibsens Peer Gynt (1867) kan bidra til å utvikle elevers litterære kompetanse og fremme dybdelæring i litteraturundervisningen. Målet med en tematisk strukturert litteraturundervisning er å «koble elevene på» og engasjere dem i arbeidet med litteraturen. Temaene skaper assosiasjoner som de kan dra nytte av i de utforskende samtalene i klasserommet. Jeg anvender Sheridan Blaus (2003) perspektiver på skjønnlitterær kompetanse for å forklare hvordan man kan utvikle tekstkompetanse. Blaus syn inkluderer de tre bestanddelene tekstuell literacy, intertekstuell literacy og performativ literacy. Arbeidet med tekstuell literacy skal utvikle elevenes evne til å nærlese tekster, intertekstuell literacy fokuserer på de ulike kontekstene for å videreutvikle forståelsen for en tekst, og en performativ literacy skal gjennomsyre det litterære arbeidet i norskfaget når læreren og elevene deltar i et felles utforskende tolkningsfellesskap.

Peer Gynt har vært gjenstand for analyse og fortolkning utallige ganger. Det som er nytt ved min lesning, er at jeg studerer et spesifikt tema i teksten og kobler det opp mot de didaktiske «buzz-ordene» literacy og dybdelæring. Formålet med oppgaven er å understreke og diskutere hvordan man kan skape en litteraturundervisning med kraft og relevans, der leseglede ikke står i et motsetningsforhold til utvikling av faglig kompetanse. I oppgaven argumenterer jeg for at klassiske skjønnlitterære tekster har livets rett i litteraturundervisningen, ved å peke på sider ved undervisningen som kan legge til rette for utvikling av litterær kompetanse og dybdelæring.

"We participate in moral debate, instead of taking morality for granted, because of discontent with the moral discourse in vogue. We feel that something is distorted or concealed. One way to expose deficiencies in established discourse is critical argument, but under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such a sway, has acquired such an ability to conceal its basic vulnerability, that its validity seems beyond contestation. Then, all of a sudden, its vulnerability is revealed, through the experience of laughter. Moral criticism is preceded by laughter. All crucial transformations in the history of moral thinking were made possible by laughter and moral criticism is originally a comic genre. The moral significance of laughter is recovered with the help of four philosophers of laughter: Bakhtin, Nietzsche, Bataille and Foucault. Laughter allows reality to appear in a certain light. It is a philosophical factor in its own right. This is explained through a thorough analysis of three crucial moral revolutions occurring in the fourth century B.C., the sixteenth century A.D. and the nineteenth century A.D. These transformations involved basic experiences of laughter articulated by three outstanding protagonists, namely Socrates, Luther and Ibsen.
"

In this essay I am going to examine in what way gender was a concern for a selection of modernist writers and that while in many ways modernism was alive with misogynistic and male-centric literature, there were a few who went against the grain and empowered women. Firstly, I will examine Norwegian playwright, Henrik Ibsen’s role as a ‘proto-modernist’ and early feminist after which I will assess Virginia Woolf’s contribution to twentieth century modernist literature as one of the first modern feminist writers and critics. Finally, I will explore American author John Steinbeck’s depiction of women in Depression era America as portrayed in his documentary novel ‘The Grapes of Wrath’.

Kristin Gjesdal's The Drama of History: Ibsen, Hegel, Nietzsche is a rich exploration of Hegelian and Nietzchean themes in and through Ibsen's work. Ibsen (1828-1906) was born shortly before Hegel's death (1831) and was a contemporary of Nietzsche (1844-1900). 1 Some of Ibsen's best-known plays-A Doll's House, Ghosts, The Wild Duckpremiered during Nietzsche's most active period of philosophical writing. Gjesdal's book is also a window onto Hegel's and Nietzsche's 19th-century reception in Scandinavia, and their place in literary and artistic circles. That said, Gjesdal's book is not just about charting influence. This makes the study especially interesting and philosophically rich. It asks 'what hermeneutic-artistic possibilities were disclosed by the philosophical contributions at the time and how Ibsen, as an artist, makes use of and often goes beyond them' (3). Gjesdal reads the plays as taking up Hegelian and Nietzschean themes, yet complicating and challenging them, in such a way as not only to have Hegel and Nietzsche shed light on Ibsen but also to have Ibsen shed light on Hegel and Nietzsche. Two of the plays Gjesdal discusses will be less familiar to most audiences: The Vikings at Helgeland (1858) and Emperor and Galilean (1873), both works treating historical themes. It is Ibsen's bourgeois dramas, set in the Norway of roughly his time, that tend to be the popular stage mainstays now. The folkloric Peer Gynt (1867) is likely somewhere in between, in terms of familiarity. The Vikings at Helgeland takes place in the 10th century and draws, as its name would suggest, on the Saga literature. The 19th century was a period of great interest in mythology, with this thought to be a route to better understand and make sense of one's identity and of the values that ground one's community. During the same period as Ibsen was writing, Richard Wagner was at work on his monumental tetralogy, Der Ring des Niebelungen, which also drew on Norse mythology. This turn to mythology came on the heels of the Sturm und Drang movement, in which these historical evocations of the past played an important role as well. Gjesdal allows that the play is, to some extent, a mythologizing endeavour and an expression of Sturm und Drang sentiments. But it is, on her reading, not simply a backward-looking play, but one that speaks to our modern condition (32). It is indeed as though its central character Hjørdis faces the predicament of the modern subject: 'Her world is god-forsaken, her very self, her identity and self-understanding, emerges as hollow in the tradition she had previously taken for granted' (33). The turn towards the mythic, and attempts at dramatizing this, were in the 19th century also part and parcel of the attempt to demarcate and solidify distinct national identities. This, again, was a centrepiece of the Wagnerian

Si bien Freud quizás no haya estudiado a Kierkegaard, Lacan, en algún seminario o escrito, recomendó a sus discípulos, que bien valía dar una revisadita a la obra del filósofo danés y, a raíz, de un grupo de estudio sobre una obra de Juan David Nasio, que se titula "¿Por qué repetimos siempre los mismos errores?", hago un texto en el que intercalo a los autores del título de mi artículo más otros filósofos griegos y modernos.

In her readings of the Greek tragedies, Luce Irigaray demonstrates that the power relations between women and men permeate tragedy to its core. According to Irigaray, the source of the ancient tragedy —Antigone’s death is a clear example—lies in these systems of power that are bound to eradicate the heroine. In her reading, tragedy represents the fate of women, whose death and demise attest to the inability to represent themselves as women in the phallocentric culture, which, as Ibsen notes, does not allow women to be themselves.
I develop in this paper a reading of Hedda Gabler which draws on Irigaray’s reading of the Greek tragedies, such as Aeschylus’ Oresteia, Sophocles’ Antigone, Oedipus the King, and Oedipus at Colonus, and Euripides’ Electra. These provide a broad comparative framework for interpreting the play, the only one of Ibsen’s works named, like the ancient tragedies, after its female protagonist. Building on her work, I set out to show how by probing the trope of the riddle and problematizing it, Hedda Gabler also positions women’s destiny at the intersection of gender and genre, engendering the tragedy of femininity. At the same time, the play offers the possibility of envisioning what Irigaray’s calls “…another dramatic play through which we can relate to each other as different.” (2010, 199). Thinking of the relationship between tragedy and gender from an Irigaraian perspective, we can see how Hedda Gabler, which genders tragedy through the story of a specific woman, engenders in the spectators the realization for the need for projecting new images and modes of feminine existence.

O Freud είχε πει ότι οι ποιητές ανακάλυψαν το ασυνείδητο πριν η ψυχανάλυση να γίνει όργανο συστηματικής έρευνας. Η λογοτεχνία και κυρίως το δράμα, από τις τραγωδίες των Ελλήνων τραγικών, μέσω του Shakespeare, στα κοινωνικά και «ψυχοπαθολογικά» δράματα του Ibsen, έπαιξαν ένα σημαντικό ρόλο σαν πλαίσιο αναφοράς στην διαμόρφωση της ψυχαναλυτικής θεωρίας. Έτσι, δεν είναι τυχαίο που το Οιδιπόδειο σύμπλεγμα, το οποίο παρουσιάζεται συχνά σαν η μεγαλύτερη ανακάλυψη της ψυχανάλυσης, ονομάστηκε όχι από τον Οιδίποδα του μύθου αλλά από τον πρωταγωνιστή στην τραγωδία του Σοφοκλή. Ούτε πρέπει να εκπλαγούμε που ο Freud βασίστηκε στον Shakespeare και στον Ibsen για να υποστηρίξει την καθολική ισχύ του Οιδιπόδειου συμπλέγματος. Αφού στη «γνώση του μυαλού», οι ποιητές, αποφάνθηκε ο Freud, «είναι πολύ πιο ανεπτυγμένη από εμάς των καθημερινών ανθρώπων» (Freud, 1907, p. 8). Η δουλειές του Freud δείχνουν πως η λογοτεχνία συνέβαλε στην σύλληψη της ψυχανάλυσης.

Abstract: Joe Martin
IBSEN AND EMERGENCE
Ibsen’s journey as a dramatist has already been explored as a body of works that demonstrate progress from one stage of consciousness in social and personal transformation to the next. This essay suggests that Ibsen’s great personal undertaking after his years of apprenticeship with his early plays (from Emperor and Galilean onward) begins with an exploration of transformative stages in consciousness, which includes the quest for personal authenticity as well as social progress in a manner that eludes systems like the Hegelian dialectic.  As W.H. Auden pointed out, Ibsen launched his project in a manner parallel to that of Kierkegaard, with his epic plays depicting opposite approaches to the quest for self-actualization: Peer Gynt and Brand.  His final sequence of twelve plays portray the impact of pressures facing the individual living in static social and cultural circumstances.  These great characters must undergo change to avoid tragic outcomes—and only sometimes do they succeed.  In Ibsen’s work the evolution of consciousness within the individual threatens to break the boundaries of outmoded social conventions, as well as inherited values.  In his late plays, he returns to the idea of the life fully lived, as opposed to the life constricted by reigning values and norms—demonstrating directly through the medium of theatre, how we may be ensnared by veils of illusion tying us to an “unawakened” life.  The essay explores Ibsen’s “dodecalogue” as an adventure of emergence or the evolution of consciousness, drawing on the ideas of Integral and evolutionary thinkers such as Jean Gebser, Clare Graves, Ken Wilber and Don Beck.

Oμιλία στον Θεατρικό Οργανισμό Κύπρου. 12 Νοεμβρίου 2017.

Abstract

Στο έργο Η Κυρά της Θάλασσας του Ίψεν, στοιχεία μύθου και αλληγορίας προβάλλονται σε ένα πλαίσιο που καθορίζεται από εικόνες ανοιχτού πελάγους και μακρινών οριζόντων, δημιουργώντας μια σχηματική απεικόνιση του υπαρξιακού τρόμου, καθώς και ισχυρά εικαστικές μεταφορές. Λαμβάνοντας υπόψη και τη «στοιχειωμένη» φύση της εμπειρίας του θεατή, το κείμενο φαίνεται να αποτελεί ιδανικό υλικό για έναν σκηνοθέτη, καθώς ασπάζεται το φυσικό περιβάλλον τόσο έντονα, έτσι ώστε αυτό να γίνεται σταδιακά προέκταση των χαρακτήρων, υπογραμμίζοντας σημαντικούς σταθμούς στη ζωή τους και προσθέτοντας συναισθηματική και αισθητηρική υφή σε κάθε τι που λένε και κάνουν. Από την πλευρά του σκηνοθέτη και του αναγνώστη-θεατή, η αποκωδικοποίηση της εικονιστικής ταυτότητας του έργου γίνεται πρωτίστως μια εμπειρία εμβύθισης στο Νορδικό τοπίο –τόσο της φύσης όσο και του μυαλού.

The great conversation about America that took place in European letters throughout the nineteenth century was characterized by a tendency towards polarization and routinely cast the NewWorld either as a “dream” or a “nightmare” (Arendt). This polarization was due in part, especially in the first half of the century, to the relative scarcity of reliable information about the United States. Yet the main reason was that writers and intellectuals tended to approach America strictly in Eurocentric terms, perceiving this country, not in its own right, but as a foil for political and social issues within a European setting; those with a liberal outlook, for example, tended to extol America as a way of implicitly criticizing the prevailing conditions in Europe, whereas conservatives, for the opposite reason, often opted for a strongly dismissive attitude. In the absence of sustained, dispassionate enquiry, the European image of America, not least in the context of fictional literature, remained a battleground of opposing mythologies, pitting enamored accounts of American freedom and authenticity against glum visions of moral and cultural decay.

INTRODUCTION


Theater is obviously one of the oldest methods used as a mean of communication by human being. As a result of research which have done by researchers, it is clear that people have used theatre to express their ideas and feelings for not only people whom they lived in their age but people also lived after them, and people who live today since ancient times. We can improve that claim by giving example of the figures and pictures which were drawn on the walls of caves and on stones. Therefore, we can perceive that human being has used theatre for ages.
As a matter of fact, theatre emerged as a result of imitation. Humans’ efforts to imitate each other causes by making fun of or modeling on each other. As everybody knows, marriage turned out to be game by being played by children reflecting and resembling parents’ action and behaviors. Most of us used to play this game in our childhood.
One point that should not be avoided is theatre hasn’t carried out imitation by performing only positive characteristics of society and individuals, but it has also put negative sides of society and individuals on stage. Of course, the ultimate purpose of the theatre is not only to display beauties and good things, but also to reveal the faults, falsifications, and deficiencies in society and individuals. However, the problem was that even till late 1800s, playwrights hesitated to express problems experienced by different individuals and existing condition in society. Most of the time they had taken the themes and subjects of the works from ancient Greek mythology or put plays on the stage fantasized by them. Works and plays of these playwrights were not conveyed to ordinary people, in other words individuals out palace. Written plays and novels either praised a king, sultan, and upper-class men or entertained them and were performed in theatres. Briefly speaking, people to whom these plays were dedicated were the representatives of noble classes. Additionally, the themes that writers could work on were limited. This limitation was carried out by church which had authority and power considering either dominant or noble class or European Theatre. Displaying faults and mistakes of church was considered to be sin. The ones who tried to show faults of church and clergymen were severely punished. Therefore, writers hesitated and were of showing problems. For example, Christopher Marlowe was excommunicated from Christianity andThomas Kyde was tortured.
Although Romanticism and romantic novelists and playwrights who emerged after classicism age underlined problems of society and individuals, the themes and subjects of written works comprised mainly love, beauty, and nature. These works were not those which stated people’s problems. Themes and subjects of famine, unemployment, hypocrisy, injustice in politics and government, and war had become part of works only in late 19th and early 20th centuries. During 19th century Chekhov in Russia, Strindberg in Switzerland, and Ibsen in Norway were the writers and dramatists who selflessly wrote problems of individuals and society. Theatre were not only satisfied with making people laugh and entertain, but it also started to make them reason, Especially Ibsen provided transition of theatre from romanticism into realism by highlightening major themes and using methods. Critics of that time called him the founder of modern theatre.
In late 19th  and early 20th  centuries, Bernard Shaw who was prominent and remarkable writer, dramatist, film maker, stage manager, theatre and music critics, and orator, besides owner of other skills followed Ibsen’s way, too. Bernard Shaw clearly expressed himself to be the follower and the successor of Ibsen by extolling him in his work “Quintessence of Ibsenism””. He is one of the writers who lived longer, Shaw always emphasized on all problems of the society and continuously struggled against them all his lifetime.
Shaw not only expressed and put the problems on the stage, but he also made people laugh and think about them. The main point is that he also revealed ways of solution to these problems and put them forward. This concept of theatre having formed in Shaw’s creativity was called “Intellectual Drama”. To take all these factors into consideration, Shaw has become the only and first person in the world who was honoured by both Nobel Prize in literature and Oscar Award in film industry.
Actuality of Dissertation. The problems addressed by George Bernard Shaw are now observed and experienced in social life of modern Azerbaijan. Social, political, religious, and philosophical themes and problems were written by him, and their ways of solution brought up by him highlights the modern problems in the world and Azerbaijan. From this aspect, he is one of the writers and dramatists whose works have been read and performed most. As a result, to conduct a research into the creativity of Bernard Shaw acquires paramount importance from the prospects of themes and subjects taken up and innovations brought to drama by him.
The Goals of Dissertation. The main goals of this dissertation are to research the concept of “Intellectual drama” by Bernard Shaw, who was the founder of “Intellectual drama” in 19th and 20th  centuries’ literature, to show the themes and subjects discussed by him, to specify his thoughts about these themes and subjects, to find out the ways how he directed and staged his plays as a director, to demonstrate from which aspect he approached world problems, and to analyze the characteristics of methods used by him while writing his plays. Our main purpose on doing this research is to reveal innovations brought by Shaw to World theatre and drama, especially to European theatre, and moreover, to identify Show’s place in the European and World theatre.
The Content and Elements of Dissertation.  Bernard Shaw’s rich drama creativity and active director work comprise the focus and content of this research. As elements of this dissertation, I chose the characteristics of “Intellectual Drama” being popular in the European stages in the second half of 19th century and during 20th centuries, the display drama and theatre concept of Bernard Shaw who was one of the famous representatives of “Intellectual Drama” comparatively with Ibsen, Chekhov, and Strindberg, and research of the social, religious, and problems of women, Shaw’s directing specifications and features he used in his plays.
Scientific innovation of Dissertation. In the historical literature of Azerbaijan, dissertations almost do not exist which analyzing Shaw’s creative features and resources of them, reflecting Shaw’s views having been put forward with regard to socio-political problems, revealing his contributions and innovations brought by him to the World and European theatre and drama as a director, and showing Bernard Shaw’s approach to “Intellectual Drama”. In this respect this master dissertation can be considered as a first step in this realm.
Theoretical and practical importance of the Dissertation. This dissertation can be benefited in scientific lectures and seminars in colleges and universities to give information and enlighten students studying on literature of foreign countries. This dissertation could be also useful for research activities in literature field that might be carried out in the future.
Structure of Dissertation. With 75 pages, this dissertation consists of introduction, chapter I, chapter 2, conclusion, and bibliography.
In the first chapter, dissertation gives a plenty of information about Bernard Shaw’s life, touches creativities of Strindberg, Chekhov, and Ibsen who have important role in Shaw’s creative activity and creative work, and talks about his creativity until he is rewarded with Nobel Prize and later period, and amplitude of subject is specified.
In the second part, we talk about Shaw’s directing activity, setting, structure, and specifications of his plays which brought him an award of Oscar are taken up, dicuss his Intellectual drama concept and characteristic features of his satire, humor, irony, paradox, discussion, and remarks used in his plays, and give information about secularization of the themes which he touched.
Finally, at the end of this dissertation, conclusion and bibliography were included.

Intenzione del presente lavoro è quella di analizzare lo studio su Henrik Ibsen compiuto da Scipio  Slataper nelle sue differenti stesure ed edizioni, valutandone la genesi, le motivazioni critiche, il contesto e i precedenti, dando poi un’interpretazione dei principali giudizi critici slataperiani che concorrono a costruire il “suo” Ibsen.

Examining the relationship between theatre and photography, this book shows how the two intertwine and provide vantage points for understanding each other. Joel Anderson explores the theory and practice of photographing theatre and performance, as well as theatre and photography's mutual preoccupation with posing, staging, framing, and stillness.

This paper confronts the orthodoxy of Anglophone Ibsen interpretation and translation: namely, that there is a firm stylistic partition in Ibsen's poetics, which premises the development of Ibsen's putative "pallid," colloquial prose style as an absolute turning away from his earlier "national-romantic" verse drama and poetry. Beginning with William Archer's proselytizing of a "realist Ibsen," Ibsen's presumed rejection of poetry and poetic construction has been so engrained in the Anglophone tradition that the poetic works have been nearly effaced from Ibsen's canon in the English-speaking world. As a result, Anglophone interpreters have little sense of the internal prosody and figural complexity that drives Ibsen's dialogue. Working to undermine this toxic doxa, this paper suggests an alternative method of reading Ibsen's poetics, one which assumes a more comprehensive and figural interpretation to how Ibsen viewed "everyday ordinary speech." This more figural interpretation considers how Ibsen consciously leveraged the established forms popular in his day in order to subvert them internally through "poetic aeffects." This supposition that something internally dynamic is happening within Ibsen's lines both considers a unity with Nitzschean aesthetic philosophy and reconsiders Ibsen's verse as the fertile proving ground for his revolutionary aesthetic method.

Communication donnée dans le cadre du 8e Congrès de la Société européenne de Littérature comparée, Lille, 28-31 août 2019, à paraître en 2021.

Le succès d’Ibsen, l’auteur le plus joué au monde après Shakespeare, est entièrement suspendu à l’opération de traduction, en tant que processus dynamique et re-créateur, compris comme « une opération qui se place dans le registre de l’impossibilité, du déficit, [...] dans l’entre-deux-langues ». Mais il l’est tout autant à la mise en scène, entendue comme actualisation au sens deleuzien.

Plus que jamais en ces temps troubles, nous avons besoin de la littérature, besoin que les auteurs rayonnent, et nous pensons que c’est la grande force de la traduction et de la mise en scène de pouvoir leur garantir la place qui leur revient, ce que nous souhaiterions montrer dans cette communication en nous appuyant tout particulièrement sur Ibsen et sa pièce Les Revenants telle qu’elle a été reçue en Allemagne et en France.

One of the research topics in the field of comparative literature is the study of l cinematic adaptation. The scope of this article is to examine Mehrjui's special interpretation of A Doll's House in the form of its recreation in his film Sara. Adaptation is derivation, but it is not derivative; it is rather a new and exquisite cultural art that has its own artistic style. Consequently, Mehrjuj makes Ibsen's A Doll's House his own, and presents a new design that is fresh and exquisite. Therefore, using interdisciplinary research in the field of comparative literature and comparative studies, the crossover between cinema and literature is broken between written texts and visual texts, and among popular works. Sara, produced in 1991, released in 1992, was directed by Mehrjui based on the textbook of A Doll's House (1897, by Henrik Ibsen). Sara is not an alternative to Ibsen's work, but a new cultural work with its own artistic dignity. This article deals with the analysis of Dariush Mehrjui's adaptation and reworking of A Doll's House, which in the early 1970's appeared in Iran in the form of a film. In order for Ibsen's A Doll's House to become believable for the Iranian viewer, and to be in accord with the context of Iran, it is inevitably involved in the process of Iranization and the adapter must insert the ideological mechanisms of society and social-cultural discourses in the spirit of the work. The research method of this article is based on the French school of comparative literature, which is based on influence and comparative studies. The focus in this article is on the reworking of Sara directed by Mehrjui based on Ibsen's A Doll's House.

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

The article investigates the subject of history and historiography in Hedda Gabler through a revision of the prevalent view that intended Tesman to be a caricature on the historical profession. Tesman’s research area is innovative; it foreshadows later developments in historical thinking and is therefore linked to Ibsen’s modernism.

Ibsen is renowned for the structure of his plays. For the Master Builder he was inspired by the first of Nietzsche's aphorisms in Thus Spake Zarathustra. The three metamorphoses form the structure of the play and inform the dramatic journey of Burgmeister Solness.

The artistic persona of Werner Egk (1901–1983) is a unity of opposites: he was praised by both Hitler and Goebbels as a " worthy successor to Richard Wagner, " and yet went on to become a celebrated composer and conductor of postwar Germany, carrying the honorable title of Komponist des Wiederaufbaus (composer of the reconstruction). In this paper, we examine his most celebrated work, Peer Gynt, an operatic adaptation of Ibsen's play, and trace the anti-Semitism hidden in Egk's opera.

This book ursues the hypothesis that fictional literature has been instrumental in the development and dissemination of European anti-Americanism from the early 1800s to today. Focusing on Britain, France and Germany, it offers analyses of a range of canonical literary works in which resentful hostility towards the United States is a predominant feature.