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Research Articles

Ibsen Studies and Adaptation

References

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  • Alnæs, Karsten. 1978b. “På filmreise gjennom Ibsens verker.” Film og Kino (1): 8–11.
  • Bakhtin, M. M. 1990. “Supplement: The Problem of Content, Material, and Form in Verbal Art.” In Art and Answerability: Early Philosophical Essays, edited by Michael Holquist and Vadim Liapunov, translated by Vadim Liapunov, 257–325. Austin: University of Texas Press,
  • Bluestone, George. 1957. Novels into Film. Baltimore: Johns Hopkins University Press.
  • Bråten, Audun. 2006. “En Ibsen for vår tid.” Rushprint 41 (1): 32–34.
  • Bruhn, Jörgen. 2013. “Dialogising Adaptation Studies: From One-Way Transport to a Dialogic Two-Way Process.” In Adaptation Studies: New Challenges, New Directions, edited by Jörgen Bruhn, Anne Gjelsvik, and Eirik Frisvold Hanssen, 69–88. London: Bloomsbury Academic.
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  • Cavell, Stanley. 1996. Contesting Tears: The Hollywood Melodrama of the Unknown Woman. Chicago: University of Chicago Press.
  • Chen, Melvin. 2015. “The (Im)Possibility of Filming Ibsen.” Nordlit 34 (34): 363–369. https://doi.org/10.7557/13.3381
  • Corrigan, Timothy. 2017. “Defining Adaptation.” In The Oxford Handbook of Adaptation Studies, edited by Thomas Leitch, 23–35. New York: Oxford University Press.
  • Cutchins, Dennis. 2017. “Bakhtin, Intertextuality, and Adaptation.” In The Oxford Handbook of Adaptation Studies, edited by Thomas Leitch, 87–100. New York: Oxford University Press.
  • Cutchins, Dennis, and Kathryn Meeks. 2018. “Adaptation, Fidelity, and Reception.” In The Routledge Companion to Adaptation, edited by Dennis Cutchins, Katja Krebs, and Eckart Voigts-Virchow, 301–310. London: Routledge.
  • Dicecco, Nico. 2017. “The Aura of Againness: Performing Adaptation.” In The Oxford Handbook of Adaptation Studies, edited by Thomas Leitch, 607–621. New York: Oxford University Press.
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  • Engelstad, Audun. 2021. “Rewriting Ibsen for the Big Screen.” Journal of Scandinavian Cinema 11 (2): 177–193. https://doi.org/10.1386/jsca_00046_1
  • Florin, Bo. 2022. “’The Best Swedish Film Ever Made.” In Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s, edited by Eirik Frisvold Hanssen and Maria Fosheim Lund, 147–166. Oslo: Nota bene.
  • Glass, Dudley. 1978. “Ibsen in Music.” Scandinavian Review 66 (4): 51.
  • Grimley, Daniel M. 2021. “Music.” In Ibsen in Context, edited by Narve Fulsås and Tore Rem, 65–73. Cambridge: Cambridge University Press.
  • Gómez-Baggethun, Cristina. 2021. “Spain in an Assembly: Fighting for a Future through Productions of Ibsen’s An Enemy of the People.” PhD diss., University of Oslo.
  • Grinde, Nils. 2008. Ibsen og musikken. Musikken i Henrik Ibsens liv og verker. Oslo: Aschehoug.
  • Gunn, Olivia Noble. 2015. “Adaptation, Fidelity, and the ‘Reek’ of Aesthetic Ideology: Susan Sontag’s Lady from the Sea.” Modern Drama 58 (1): 46–65. https://doi.org/10.3138/MD.S84R.46
  • Hanssen, Eirik Frisvold, and Maria Fosheim Lund, eds. 2022. Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s. Oslo: Nota bene.
  • Hanssen, Eirik Frisvold. 2017. “Silent Ibsen: Introduction.” In Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s, edited by Eirik Frisvold Hanssen and Maria Fosheim Lund, 10–42. Oslo: Nota bene.
  • Hanssen, Eirik Frisvold, and Sofia Rossholm. 2012. “The Paradoxes of Textual Fidelity: Victor Sjöström’s Silent Film Adaptation of Henrik Ibsen’s Terje Vigen.” In Translation, Adaptation, and Transformation, edited by Laurence Raw, 145–161. London: Bloomsbury.
  • He, Chengzhou. 2016. “Cross-Dressing Ibsen on the Contemporary Chinese Stage: Yue Opera Adaptations of Hedda Gabler and the Lady from the Sea.” In Ibsen between Cultures, edited by Frode Helland and Julie Holledge, 93–112. Oslo: Centre for Ibsen Studies.
  • Helland, Frode. 2015. Ibsen in Practice: Relational Readings of Performance, Cultural Encounters, and Power. London: Bloomsbury.
  • Holst, Jan Erik, and Astrid Sæther, eds. 2000. Ibsen on Screen. Oslo: The Centre for Ibsen Studies and the Norwegian Film Institute.
  • Holt, Thor. 2022. “Trauma, Aesthetic Treatment, and Intermediality.” In Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s, edited by Eirik Frisvold Hanssen and Maria Fosheim Lund, 189–221. Oslo: Nota bene.
  • Holt, Thor. 2020. “Far from Home: Ibsen through the Camera Lens in the Third Reich.” PhD diss., University of Oslo.
  • Hutcheon, Linda. 2006. A Theory of Adaptation. New York: Routledge,
  • Isaksen, Azadeh Mazloumsaki. 2021. “Ibsen in Iran: Dariush Mehrjui’s Transposition of Et Dukkehjem (A Doll’s House) and Gengangere (Ghosts) to the Screen.” PhD diss., University of Tromsø – The Arctic University of Norway.
  • King, Rob. 2022. “To Familiarise the Lowly’: The Cultural Politics of Adaptation.” In Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s, edited by Eirik Frisvold Hanssen and Maria Fosheim Lund, 43–64. Oslo: Nota bene.
  • Krouk, Dean. 2014. “Forest Fictions: Thomas Bernhard’s Holzfällen and Henrik Ibsen’s Vildanden.” Scandinavian Studies 86 (2): 133–147. https://doi.org/10.1353/scd.2014.0020
  • Langslet, Lars Roar. 2002. “Ibsen and Munch.” In Ibsen and the Arts: Painting – Sculpture – Architecture, edited by Astrid Sæther, 71–79.
  • Larsen, Mads. 2022. “A Liberal Stand-off with Deplorables: Adapting Ibsen’s An Enemy of the People from Nietzscheanism through Nazism to Neoliberalism.” Journal of European Studies 52 (1): 4–23. https://doi.org/10.1177/00472441211072604
  • Longum, Leif. 1979. “Ibsen på TV-skjermen – en ny Ibsen?” In En ny Ibsen?: Ni Ibsen-artikler, edited by Harald Noreng, 123–132. Oslo: Gyldendal.
  • McGovern, Joe. 2023. “Why ‘Triangle of Sadness’ Director Decided to End the Film with a ‘Strong Human Dilemma.” The Wrap, March 4.
  • Ng, Ronald. 2015. “The Critique of Bourgeois Life: Rainer Werner Fassbinder’s Nora Helmer.” Canadian Review of Comparative Literature 38 (2): 255–267.
  • Nilu, Kamaluddin. 2021. “The Emergence of Co-Dramaturgy: Arthur Miller, Satyajit Ray, and Thomas Ostermeier Encounter Ibsen.” In Dramaturgies of Interweaving: Engaging Audiences in an Entangled World, edited by Erika Fischer-Lichte, Christel Weiler, and Torsten Jost, 250–266. London: Routledge.
  • Oxfeldt, Elisabeth. 2017. “Noora som verdensredder og feminist i NRK-serien Skam.” I Åpne dører mot verden. Norske ungdommers møte med fortellinger om skyld og privilegier, edited by Jonas Bakken, 47–64. Oslo: Universitetsforlaget.
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  • Rees, Ellen. 2015. “Post-secular Salvation: Hallvard Bræin’s Gatas Gynt.” Nordlit 34: 371–378. https://doi.org/10.7557/13.3382
  • Rees, Ellen. 2021. “Mass Media and Popular Reception.” In Ibsen in Context, edited by Narve Fulsås and Tore Rem, 264–271. Cambridge: Cambridge University Press.
  • Rees, Ellen. 2022. “Peer Gynt: The Missing Years.” In Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s, edited by Eirik Frisvold Hanssen and Maria Fosheim Lund, 125–146. Oslo: Nota bene.
  • Rees, Ellen. 2023. Den populærkulturelle Ibsen. En studie i nyere norsk resepsjon. Oslo: Scandinavian Academic Press.
  • Rees, Ellen, and Thor Holt. 2022. “Entanglements of Adaptation, Allegory, and Reception: Jaws and an Enemy of the People.” Journal of Aesthetics & Culture 14 (1): 1–14. https://doi.org/10.1080/20004214.2021.2022864
  • Risi, Clemens. 2010. “Werner Egk’s Peer Gynt in Berlin 1938: Opera and Politics.” In Global Ibsen: Performing Multiple Identities, edited by Erika Fischer-Lichte, 176–187. New York: Routledge.
  • Rønning, Helge. 2000. “From Snorre to Dante’s Peak.” In Ibsen on Screen, edited by Jan Erik Holst and Astrid Sæther, 73–88. Oslo: The Centre for Ibsen Studies and the Norwegian Film Institute.
  • Rugg, Linda Haverty. 2016. “A Tradition of Torturing Women.” In A Companion to Nordic Cinema, edited by Mette Hjort and Ursula Lindqvist, 351–369. Chichester: Wiley Blackwell.
  • Sæther, Astrid. 2015. “Woody Allen – Henrik Ibsen: Hedda and Her Sisters – on Women and Space.” Nordlit 34: 381. https://doi.org/10.7557/13.3383
  • Sandberg, Magnus Henrik. 2022. “Peer Gynt – From Play to Game.” Ibsen Studies 23 (1): 60–93.
  • Sandberg, Mark. 2022. “Pantomime, Paratext, and Expressivity.” In Silent Ibsen: Transnational Film Adaptation in the 1910s and 1920s, edited by Eirik Frisvold Hanssen and Maria Fosheim Lund, 95–124. Oslo: Nota bene.
  • Skarstein, Dag. 2017. “SKAM – Eit Ibsensk Melodrama Med Didaktiske Mogelegheiter.” Norsklæreren LNU 40 år (1): 86–100.
  • Smidt, Kathrine. 1987. “Ibsen i Radio. En undersøkelse av hvordan Henrik Ibsens realistiske skuespill fungerer som radiooppsetninger, med utgangspunkt i ‘Rosmersholm,’ ‘Fruen fra havet’ og ‘Hedda Gabler.” Master’s Thesis, University of Oslo.
  • Stam, Robert. 2000. “Beyond Fidelity: The Dialogics of Adaptation.” In Film Adaptation, edited by James Naremore, 54–76. New Brunswick: Rutgers University Press.
  • Steene, Birgitta. 1981. “Film as Theater: Geissendörfer’s The Wild Duck (1976).” In Modern European Filmmakers and the Art of Adaptation, edited by Andrew Horton and Joan Margretta, 295–312. New York: Frederick Ungar Publishing.
  • Steene, Birgitta. 2000. “Can This Bird Fly? The Wild Duck on the Screen.” In Ibsen on Screen, edited by Jan Erik Holst and Astrid Sæther, 52–60. Oslo: The Centre for Ibsen Studies and the Norwegian Film Institute.
  • Stewart, Lianna Elizabeth. 2021. “Dancing with Ghosts: Tensions between Classical Ballet and Ibsen’s Modern Drama.” Master’s Thesis, University of Oslo.
  • Tam, Kwok-kan. 2015. “Cinematography in Motherhood: A Hong Kong Film Adaptation of Ghosts.” Nordlit 34: 393–402. https://doi.org/10.7557/13.3384
  • Tam, Kwok-kan. 2019. Chinese Ibsenism: Reinventions of Women, Class, and Nation. Singapore: Springer.
  • Tarkovsky, Andrey. 1994. Time within Time: The Diaries 1970–1986. London: Faber & Faber.
  • Templeton, Joan. 2008. Munch’s Ibsen: A Painter’s Vision of a Playwright. Seattle: University of Washington Press.
  • Thresher, Tanya. 2015. “Boats in Fields: Uwe Janson’s Peer Gynt (2006.” Nordlit 34: 403–409. https://doi.org/10.7557/13.3385
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  • Törnqvist, Egil. 1999. Ibsen, Strindberg, and the Intimate Theatre: Studies in TV Presentation. Amsterdam: Amsterdam University Press.
  • Törnqvist, Egil. 2000. “Opening the Ibsen Teleplay: Variations within an Art Form.” In Ibsen on Screen, edited by Jan Erik Holst and Astrid Sæther, 61–72. Oslo: The Centre for Ibsen Studies and the Norwegian Film Instititute.
  • Wærp, Lisbeth P. 2018. “Nature, Pathos, Heroism: Victor Sjöström’s Silent Film Adaptation (1917) of Ibsen’s “Terje Vigen” (1862).” Ibsen Studies 18 (1): 29–60. https://doi.org/10.1080/15021866.2018.1473092
  • Wærp, Lisbeth P. 2022. “Solveig, du lyver!” In Vagebond: Festschrift Henk van der Liet, 283–300. Amsterdam: Scandinavisch Instituut.
  • Wærp, Lisbeth. 2015. “The Play-Within-the-Film: Peer Gynt in Skjoldbjærg’s En Folkefiende (a Public Enemy, 2004).” Nordlit 34: 411–426.
  • Wright, Rochelle. 2006. “Ibsen Transcreations in Iran and India.” Tijdschrift voor Skandinavistiek 27 (2): 77–93.
  • Xia, Liyang. 2016. “Heart Higher than the Sky: Reinventing Chinese Femininity through Ibsen’s Hedda Gabler.” In Ibsen between Cultures, edited by Frode Helland and Julie Holledge, 113–142. Oslo: Centre for Ibsen Studies.