NARRATIVA TRANSMÍDIA E METAVERSO ESTRATÉGIAS MULTIPLATAFORMAS EM “ESPECTROS – UM DRAMA FAMILIAR”, DE HENRIK IBSEN

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.

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Body, Corpus, and Corpse: Delineating Henrik Ibsen in A.S. Byatt’s The Biographer’s Tale

Crossing Borders, Dissolving Boundaries ◽

10.1163/9789401209083_009 ◽

2013 ◽

pp. 155-180

Keyword(s):

Henrik Ibsen

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IBSEN and the Suicide Enigma

OMEGA - Journal of Death and Dying ◽

10.2190/ntj1-6d6x-e3nb-tqja ◽

1992 ◽

Vol 25 (2) ◽

pp. 109-126 ◽

Cited By ~ 1

Author(s):

Ernest Shulman

Keyword(s):

Old Age ◽

Continuous Dependence ◽

Ernest Hemingway ◽

Henrik Ibsen ◽

Creative Work ◽

Reasonable Solution ◽

High Level ◽

Commit Suicide

The famous Norwegian playwright Henrik Ibsen died of natural causes in old age. Ibsen's life and his creative work strongly suggest suicidal tendencies never manifested in his behavior. Various factors in his personality are examined and contrasted with aspects of Ernest Hemingway, who did commit suicide. Although both men tended to move around through most of their lives, and to reject close emotional ties, Ibsen can be seen to be less compulsively self-sufficient. Although Ibsen's plays indicate an acceptance of suicide as a reasonable solution to difficult problems, the author maintained his stability; partly through keeping to a high level of creative quality, and partly through continuous dependence on his only wife. Since a suicide outcome is generally unpredictable, the study of lives such as Ibsen's may reveal factors of resiliency in suicidally-inclined people, and thereby reduce the unpredictability.

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Henrik Ibsen and Denmark

Ibsen Studies ◽

10.1080/15021860208574060 ◽

2002 ◽

Vol 2 (1) ◽

pp. 9-33 ◽

Cited By ~ 1

Author(s):

Jytte Wiingaard

Keyword(s):

Henrik Ibsen

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BEGJÆRET ETTER BERGETS DYP OG FJELLETS TINDER: OM SIDER VED DET DIKTERISKE FUNDAMENT HOS IBSEN OG HAMSUN

Nordlit ◽

10.7557/13.3752 ◽

2016 ◽

Author(s):

Even Arntzen

Keyword(s):

Vertical Movement ◽

Henrik Ibsen ◽

Modern World ◽

Knut Hamsun

Even though Knut Hamsun stubbornly denied it, all his life he had a strong and ambivalent interest for Henrik Ibsen. Quite well known are Hamsun's many attacks on Ibsen in articles and lectures, letters and novels. Less known is that there are several coinciding (intertextual) motifs between Ibsen and Hamsun. In several of Ibsen's plays and poems the mountain motif is associated with poetic vocation and a descent and entry into an enclosed world of fantasy and imagination. The mountain motif is for sure attached to a form of penetration into a supernatural and demonic underworld, but also related to an upward and vertical movement, towards light, air and literary clarity. One finds strong traces of this double Ibsenian movement also in Hamsun's authorship, for example in the novels Pan and In Wonderland. But Hamsun seems to exceed Ibsen: in Hamsun's literary universe, the mountain motif is also linked to a revitalized dream of happiness, joy and an existential demand of exceeding oneself in the direction of a more authentic way of being human in the modern world.

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