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Published online by Cambridge University Press: 23 April 2021
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- Ibsen in Context , pp. 272 - 283Publisher: Cambridge University PressPrint publication year: 2021
References
Primary Sources
Dahl, Per Kristian Heggelund, Streiflys: Fem Ibsen-studier (Oslo: Ibsen-museet, 2001).Google Scholar
de Figueiredo, Ivo, Henrik Ibsen: The Man and the Mask (New Haven and London: Yale University Press, 2019).CrossRefGoogle Scholar
Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
Gatland, Jan Olav, Repertoaret ved Det Norske Theater 1850–1863 (Bergen: Universitetsbiblioteket i Bergen, 2000).Google Scholar
Hemmings, F.W.J., The Theatre Industry in Nineteenth-Century France (Cambridge: Cambridge University Press, 1993).CrossRefGoogle Scholar
McFarlane, James (ed.), The Cambridge Companion to Ibsen (Cambridge: Cambridge University Press, 1994).CrossRefGoogle Scholar
Marker, Frederick and Marker, Lise-Lone, The Scandinavian Theatre: A Short History (Oxford: Basil Blackwell, 1975).Google Scholar
Nygaard, Jon, ‘…af stort est du kommen’: Henrik Ibsen og Skien (Oslo: Centre for Ibsen Studies, 2013).Google Scholar
Secondary Sources
Beyer, Edvard et al. (eds.), Norsk litteraturkritikks historie 1770–1940, vols. 1 and 2 (Oslo: Universitetsforlaget, 1990–2).Google Scholar
de Figueiredo, Ivo, Ibsen: The Man and the Mask, trans. Robert, Ferguson (New Haven and London: Yale University Press, 2019).Google Scholar
Tveterås, Harald L., Den norske bokhandels historie, vol. 1, Forlag og bokhandel inntil 1850 (Oslo: Norsk bokhandler-medhjelper-forening/J. W. Cappelens forlag, 1950).Google Scholar
Aslaksen, Kamilla, ‘Ibsen and Melodrama’, Nordic Theatre Studies 10 (1997), pp. 35–52.Google Scholar
Cima, Gay Gibson, ‘Discovering Signs: The Emergence of the Critical Actor in Ibsen’, Theatre Journal 35:1 (1983), pp. 8–22.CrossRefGoogle Scholar
Ewbank, Inga-Stina, ‘Ibsen’s Dramatic Language As a Link between His “Realism” and His “Symbolism”’, in Haakonsen, Daniel (ed.), Contemporary Approaches to Ibsen, vol. 1 (Oslo: Universitetsforlaget, 1965–6).Google Scholar
Holzapfel, Amy, Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing (London: Routledge, 2014).CrossRefGoogle Scholar
Ibsen, Henrik, Ibsen on Theatre, eds. Frode, Helland and Julie, Holledge with new translations of Henrik Ibsen’s writings by May-Brit, Akerholt (London: Nick Hern Books, 2018).Google Scholar
Johnston, Brian, ‘The Mythic Foundation of Ibsen’s Realism’, Comparative Drama 3:1 (1969), pp. 27–41.CrossRefGoogle Scholar
Lyons, Charles R., ‘Ibsen’s Realism and the Predicates of Postmodernism’, in Hemmer, Bjørn and Ystad, Vigdis (eds.), Contemporary Approaches to Ibsen, vol. 8 (Oslo: Scandinavian University Press, 1994).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford: Oxford University Press, 2006).Google Scholar
Rebellato, Dan, ‘Objectivity and Observation’, in Kirsten Shepherd-Barr (ed.), The Cambridge Companion to Theatre and Science (Cambridge: Cambridge University Press, 2020), pp. 12–25.CrossRefGoogle Scholar
Shaw, George Bernard, The Quintessence of Ibsenism. Now Completed to the Death of Ibsen (London: Constable and Company, Ltd, 1913).Google Scholar
States, Bert O., Great Reckonings in Little Rooms: On the Phenomenology of Theatre (Berkeley: University of California Press, 1985).CrossRefGoogle Scholar
Templeton, Joan, ‘Genre, Representation, and the Politics of Dramatic Form’, in Bjørby, Pål and Arseth, Asbjørn (eds.), Proceedings: IX International Ibsen Conference, Bergen 5–10 June 2000 (Ørve Ervik: Alvheim & Eide, 2001).Google Scholar
Cima, Gay Gibson, ‘Discovering Signs: The Emergence of the Critical Actor in Ibsen’, Theatre Journal, 35:1 (1983), Aporia: Revision, Representation and Intertextual Theatre, pp. 5–22.CrossRefGoogle Scholar
Des Roches, Kay Unruh, ‘Sight and Insight: Stage Pictures in Hedda Gabler’, Journal of Dramatic Theory and Criticism, Fall (1990), pp. 49–68.Google Scholar
Gjervan, Ellen Karoline, ‘Henrik Ibsen’s Two Stage Renderings’, Ibsen Studies 12:2 (2012), pp. 89–102CrossRefGoogle Scholar
Ibsen, Henrik, Ibsen on Theatre, eds. Frode, Helland and Julie, Holledge with new translations of Henrik Ibsen’s writings by May-Brit, Akerholt (London: Nick Hern Books, 2018).Google Scholar
Marker, Frederick J. and Marker, Lise-Lone, Ibsen’s Lively Art: A Performance Study of the Major Plays (Cambridge: Cambridge University Press, 1989).Google Scholar
Northam, John R., Ibsen: A Critical Study (Cambridge: Cambridge University Press, 1973)Google Scholar
Schumacher, Claude (ed.), Naturalism and Symbolism in European Theatre 1850–1918 (Cambridge: Cambridge University Press, 1996).Google Scholar
Sprinchorn, Evert, ‘The Unspoken Text in Hedda Gabler’, Modern Drama 36:3 (1993), 353–67.CrossRefGoogle Scholar
Langslet, Lars Roar, Henrik Ibsen, Edvard Munch: To genier møtes / Two Geniuses Meet. Bilingual edition in Norwegian and English, trans. Palmyre, Pierroux (Oslo: Cappelen, 1994).Google Scholar
Meier-Graefe, Julius, Modern Art: Being a Contribution to a New System of Aesthetics, trans. Florence, Simmonds and George, W. Chrystal (2 vols., London: William Heinemannn; New York: G.P. Putnam’s Sons, 1908).Google Scholar
Meisel, Martin, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England (Princeton: Princeton University Press, 1983).Google Scholar
Mohr, Otto Lous, Henrik Ibsen som maler, with an English summary (Oslo: Gyldendal, 1953).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford and New York: Oxford University Press, 2006).CrossRefGoogle Scholar
Shepherd-Barr, Kirsten, ‘Ibsen, Munch, and the Relationship between Modernist Theatre and Art’, Nordic Theatre Studies 12 (2000), pp. 43–53.Google Scholar
Templeton, Joan, Munch’s Ibsen: A Painter’s Vision of a Playwright (Seattle and Copenhagen: University of Washington Press and Museum Tusculanum Press, 2008).Google Scholar
Christensen, Sofija, ‘Dances in the Drawing Room: Musical Elements in Ibsen’s Dramas’, Nordlit 34 (2015), pp. 105–14.Google Scholar
Grinde, Nils, Ibsen og musikken. Musikken i Henrik Ibsens liv og verker (Oslo: Aschehoug, 2008).Google Scholar
Høgåsen-Hallesby, Hedda, ‘Who are You, Peer? An Anniversary Postlude on Music, Text and Identity Construction’, in Solomon, Thomas (ed.), Music and Identity in Norway and Beyond (Bergen: Fagbokforlaget, 2011), pp. 105–30.Google Scholar
Perelli, Franco, ‘Some More Notes about Nora’s Tarantella’, in Sæther, Astrid (ed.), Ibsen and the Arts: Painting – Sculpture – Architecture. Proceedings of the Ibsen Conference in Rome, 2001, 24–27 October (Oslo: Centre for Ibsen Studies, 2002), pp. 119–31.Google Scholar
Todić, Sofia, ‘Ibsen’s Danse Macabre: The Importance of Auditory Elements in Henrik Ibsen’s Drama John Gabriel Borkman’, Musicology 13 (2012), pp. 163–75.Google Scholar
Adorno, Theodor W., Minima Moralia: Reflections from Damaged Life, trans. Jephcott, E.F.N (London: Verso, 2010).Google Scholar
Barish, Jonas, The Antitheatrical Prejudice. Berkeley: University of California Press, 1981.Google Scholar
Ewbank, Inga-Stina, ‘Ibsen and Shakespeare: Reading the Silence’, in Ystad, Vigdis (ed.), Ibsen at the Centre for Advanced Study (Oslo: Scandinavian University Press, 1997), pp. 85–104.Google Scholar
Freud, Sigmund, ‘Some Character-Types Met with in Psycho-analytic Work’, in The Penguin Freud Library, vol. 14, Art and Literature, trans. James, Strachey (London: Penguin, 1985).Google Scholar
Gjesdal, Kristin, The Drama of History: Ibsen, Hegel, Nietzsche (Oxford: Oxford University Press, 2020).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford: Oxford University Press, 2006).CrossRefGoogle Scholar
Stewart, Jon, A History of Hegelianism in Golden Age Denmark (2 vols., Copenhagen: C. A. Reitzel’s Publishers, 2007).Google Scholar
Aarseth, Asbjørn, ‘Ibsen and Darwin: A Reading of The Wild Duck’, Modern Drama 48:1 (2005), pp. 1–10.CrossRefGoogle Scholar
Carlson, Marvin, ‘Ibsen, Strindberg, and Telegony’, PMLA 100:5 (October 1985), pp. 774–82.Google Scholar
Goodall, Jane R., Performance and Evolution in the Age of Darwin (London and New York: Routledge, 2002).Google Scholar
Shepherd-Barr, Kirsten E., Theatre and Evolution from Ibsen to Beckett (New York: Columbia University Press, 2015).Google Scholar
Shideler, Ross, Questioning the Father: From Darwin to Zola, Ibsen, Strindberg, and Hardy (Stanford: Stanford University Press, 1999).Google Scholar
Wolff, Tamsen, Mendel’s Theatre: Heredity, Eugenics, and Early Twentieth-Century American Drama (New York: Palgrave Macmillan, 2009).CrossRefGoogle Scholar
Zwart, H.A.E., ‘The Birth of a Research Animal: Ibsen’s The Wild Duck and the Origin of a New Animal Science’, Environmental Values 9 (2000), pp. 93–100.CrossRefGoogle Scholar
Barstow, Susan Torrey, ‘“Hedda Is All of Us”: Late-Victorian Women at the Matinee’, Victorian Studies 43: 3 (2001), pp. 387–411.Google Scholar
Diamond, Elin, Unmaking Mimesis: Essays on Feminism and Theater (London and New York: Routledge, 1997).Google Scholar
Finney, Gail, ‘Ibsen and Feminism’, in McFarlane, James (ed.), The Cambridge Companion to Ibsen (Cambridge: Cambridge University Press, 1994), pp. 89–105.CrossRefGoogle Scholar
Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford and New York: Oxford University Press, 2006).Google Scholar
Moi, Toril, ‘“I Am Not a Woman Writer”: About Women, Literature and Feminist Theory Today’, Feminist Theory 9:3 (2008), pp. 259–71.CrossRefGoogle Scholar
Moi, Toril, ‘Hedda’s Silences: Beauty and Despair in Hedda Gabler’, Modern Drama 56:4 (2013), pp. 434–56.Google Scholar
Lisi, Leonardo, ‘Aesthetics of Fragmentation in Henrik Ibsen’s Peer Gynt’, in Marginal Modernity: The Aesthetics of Dependency from Kierkegaard to Joyce (New York: Fordham University Press, 2013).Google Scholar
Marx, Karl, Capital: A Critique of Political Economy, vol. 1 (1867), trans. Ben, Fowkes, intr. Ernest, Mandel (New York: Penguin, 1992).Google Scholar
Moretti, Franco, ‘The Grey Area: Ibsen and the Spirit of Capitalism’, New Left Review 61 (2010), pp. 117–31.Google Scholar
Oxfeldt, Elizabeth, Nordic Orientalism: Paris and the Cosmopolitan Imagination 1800–1900 (Copenhagen: Museum Tusculanum Press, 2005).Google Scholar
Zhulina, Alisa, ‘The Invisible Stage Hand, or Henrik Ibsen’s Theatre of Capital’, Theatre Survey 59:3 (September 2018), pp. 386–408.CrossRefGoogle Scholar
Beyer, Edvard et al. (eds.), Norsk litteraturkritikks historie 1770–1940, vols. 1 and 2 (Oslo: Universitetsforlaget, 1990–2).Google Scholar
de Figueiredo, Ivo, Ibsen: The Man and the Mask, trans. Robert, Ferguson (New Haven and London: Yale University Press, 2019).Google Scholar
Tveterås, Harald L., Den norske bokhandels historie, vol. 1, Forlag og bokhandel inntil 1850 (Oslo: Norsk bokhandler-medhjelper-forening/J. W. Cappelens forlag, 1950).Google Scholar
Aslaksen, Kamilla, ‘Ibsen and Melodrama’, Nordic Theatre Studies 10 (1997), pp. 35–52.Google Scholar
Cima, Gay Gibson, ‘Discovering Signs: The Emergence of the Critical Actor in Ibsen’, Theatre Journal 35:1 (1983), pp. 8–22.CrossRefGoogle Scholar
Ewbank, Inga-Stina, ‘Ibsen’s Dramatic Language As a Link between His “Realism” and His “Symbolism”’, in Haakonsen, Daniel (ed.), Contemporary Approaches to Ibsen, vol. 1 (Oslo: Universitetsforlaget, 1965–6).Google Scholar
Holzapfel, Amy, Art, Vision, and Nineteenth-Century Realist Drama: Acts of Seeing (London: Routledge, 2014).CrossRefGoogle Scholar
Ibsen, Henrik, Ibsen on Theatre, eds. Frode, Helland and Julie, Holledge with new translations of Henrik Ibsen’s writings by May-Brit, Akerholt (London: Nick Hern Books, 2018).Google Scholar
Johnston, Brian, ‘The Mythic Foundation of Ibsen’s Realism’, Comparative Drama 3:1 (1969), pp. 27–41.CrossRefGoogle Scholar
Lyons, Charles R., ‘Ibsen’s Realism and the Predicates of Postmodernism’, in Hemmer, Bjørn and Ystad, Vigdis (eds.), Contemporary Approaches to Ibsen, vol. 8 (Oslo: Scandinavian University Press, 1994).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford: Oxford University Press, 2006).Google Scholar
Rebellato, Dan, ‘Objectivity and Observation’, in Kirsten Shepherd-Barr (ed.), The Cambridge Companion to Theatre and Science (Cambridge: Cambridge University Press, 2020), pp. 12–25.CrossRefGoogle Scholar
Shaw, George Bernard, The Quintessence of Ibsenism. Now Completed to the Death of Ibsen (London: Constable and Company, Ltd, 1913).Google Scholar
States, Bert O., Great Reckonings in Little Rooms: On the Phenomenology of Theatre (Berkeley: University of California Press, 1985).CrossRefGoogle Scholar
Templeton, Joan, ‘Genre, Representation, and the Politics of Dramatic Form’, in Bjørby, Pål and Arseth, Asbjørn (eds.), Proceedings: IX International Ibsen Conference, Bergen 5–10 June 2000 (Ørve Ervik: Alvheim & Eide, 2001).Google Scholar
Cima, Gay Gibson, ‘Discovering Signs: The Emergence of the Critical Actor in Ibsen’, Theatre Journal, 35:1 (1983), Aporia: Revision, Representation and Intertextual Theatre, pp. 5–22.CrossRefGoogle Scholar
Des Roches, Kay Unruh, ‘Sight and Insight: Stage Pictures in Hedda Gabler’, Journal of Dramatic Theory and Criticism, Fall (1990), pp. 49–68.Google Scholar
Gjervan, Ellen Karoline, ‘Henrik Ibsen’s Two Stage Renderings’, Ibsen Studies 12:2 (2012), pp. 89–102CrossRefGoogle Scholar
Ibsen, Henrik, Ibsen on Theatre, eds. Frode, Helland and Julie, Holledge with new translations of Henrik Ibsen’s writings by May-Brit, Akerholt (London: Nick Hern Books, 2018).Google Scholar
Marker, Frederick J. and Marker, Lise-Lone, Ibsen’s Lively Art: A Performance Study of the Major Plays (Cambridge: Cambridge University Press, 1989).Google Scholar
Northam, John R., Ibsen: A Critical Study (Cambridge: Cambridge University Press, 1973)Google Scholar
Schumacher, Claude (ed.), Naturalism and Symbolism in European Theatre 1850–1918 (Cambridge: Cambridge University Press, 1996).Google Scholar
Sprinchorn, Evert, ‘The Unspoken Text in Hedda Gabler’, Modern Drama 36:3 (1993), 353–67.CrossRefGoogle Scholar
Langslet, Lars Roar, Henrik Ibsen, Edvard Munch: To genier møtes / Two Geniuses Meet. Bilingual edition in Norwegian and English, trans. Palmyre, Pierroux (Oslo: Cappelen, 1994).Google Scholar
Meier-Graefe, Julius, Modern Art: Being a Contribution to a New System of Aesthetics, trans. Florence, Simmonds and George, W. Chrystal (2 vols., London: William Heinemannn; New York: G.P. Putnam’s Sons, 1908).Google Scholar
Meisel, Martin, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England (Princeton: Princeton University Press, 1983).Google Scholar
Mohr, Otto Lous, Henrik Ibsen som maler, with an English summary (Oslo: Gyldendal, 1953).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford and New York: Oxford University Press, 2006).CrossRefGoogle Scholar
Shepherd-Barr, Kirsten, ‘Ibsen, Munch, and the Relationship between Modernist Theatre and Art’, Nordic Theatre Studies 12 (2000), pp. 43–53.Google Scholar
Templeton, Joan, Munch’s Ibsen: A Painter’s Vision of a Playwright (Seattle and Copenhagen: University of Washington Press and Museum Tusculanum Press, 2008).Google Scholar
Christensen, Sofija, ‘Dances in the Drawing Room: Musical Elements in Ibsen’s Dramas’, Nordlit 34 (2015), pp. 105–14.Google Scholar
Grinde, Nils, Ibsen og musikken. Musikken i Henrik Ibsens liv og verker (Oslo: Aschehoug, 2008).Google Scholar
Høgåsen-Hallesby, Hedda, ‘Who are You, Peer? An Anniversary Postlude on Music, Text and Identity Construction’, in Solomon, Thomas (ed.), Music and Identity in Norway and Beyond (Bergen: Fagbokforlaget, 2011), pp. 105–30.Google Scholar
Perelli, Franco, ‘Some More Notes about Nora’s Tarantella’, in Sæther, Astrid (ed.), Ibsen and the Arts: Painting – Sculpture – Architecture. Proceedings of the Ibsen Conference in Rome, 2001, 24–27 October (Oslo: Centre for Ibsen Studies, 2002), pp. 119–31.Google Scholar
Todić, Sofia, ‘Ibsen’s Danse Macabre: The Importance of Auditory Elements in Henrik Ibsen’s Drama John Gabriel Borkman’, Musicology 13 (2012), pp. 163–75.Google Scholar
Adorno, Theodor W., Minima Moralia: Reflections from Damaged Life, trans. Jephcott, E.F.N (London: Verso, 2010).Google Scholar
Barish, Jonas, The Antitheatrical Prejudice. Berkeley: University of California Press, 1981.Google Scholar
Ewbank, Inga-Stina, ‘Ibsen and Shakespeare: Reading the Silence’, in Ystad, Vigdis (ed.), Ibsen at the Centre for Advanced Study (Oslo: Scandinavian University Press, 1997), pp. 85–104.Google Scholar
Freud, Sigmund, ‘Some Character-Types Met with in Psycho-analytic Work’, in The Penguin Freud Library, vol. 14, Art and Literature, trans. James, Strachey (London: Penguin, 1985).Google Scholar
Gjesdal, Kristin, The Drama of History: Ibsen, Hegel, Nietzsche (Oxford: Oxford University Press, 2020).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford: Oxford University Press, 2006).CrossRefGoogle Scholar
Stewart, Jon, A History of Hegelianism in Golden Age Denmark (2 vols., Copenhagen: C. A. Reitzel’s Publishers, 2007).Google Scholar
Aarseth, Asbjørn, ‘Ibsen and Darwin: A Reading of The Wild Duck’, Modern Drama 48:1 (2005), pp. 1–10.CrossRefGoogle Scholar
Carlson, Marvin, ‘Ibsen, Strindberg, and Telegony’, PMLA 100:5 (October 1985), pp. 774–82.Google Scholar
Goodall, Jane R., Performance and Evolution in the Age of Darwin (London and New York: Routledge, 2002).Google Scholar
Shepherd-Barr, Kirsten E., Theatre and Evolution from Ibsen to Beckett (New York: Columbia University Press, 2015).Google Scholar
Shideler, Ross, Questioning the Father: From Darwin to Zola, Ibsen, Strindberg, and Hardy (Stanford: Stanford University Press, 1999).Google Scholar
Wolff, Tamsen, Mendel’s Theatre: Heredity, Eugenics, and Early Twentieth-Century American Drama (New York: Palgrave Macmillan, 2009).CrossRefGoogle Scholar
Zwart, H.A.E., ‘The Birth of a Research Animal: Ibsen’s The Wild Duck and the Origin of a New Animal Science’, Environmental Values 9 (2000), pp. 93–100.CrossRefGoogle Scholar
Barstow, Susan Torrey, ‘“Hedda Is All of Us”: Late-Victorian Women at the Matinee’, Victorian Studies 43: 3 (2001), pp. 387–411.Google Scholar
Diamond, Elin, Unmaking Mimesis: Essays on Feminism and Theater (London and New York: Routledge, 1997).Google Scholar
Finney, Gail, ‘Ibsen and Feminism’, in McFarlane, James (ed.), The Cambridge Companion to Ibsen (Cambridge: Cambridge University Press, 1994), pp. 89–105.CrossRefGoogle Scholar
Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford and New York: Oxford University Press, 2006).Google Scholar
Moi, Toril, ‘“I Am Not a Woman Writer”: About Women, Literature and Feminist Theory Today’, Feminist Theory 9:3 (2008), pp. 259–71.CrossRefGoogle Scholar
Moi, Toril, ‘Hedda’s Silences: Beauty and Despair in Hedda Gabler’, Modern Drama 56:4 (2013), pp. 434–56.Google Scholar
Lisi, Leonardo, ‘Aesthetics of Fragmentation in Henrik Ibsen’s Peer Gynt’, in Marginal Modernity: The Aesthetics of Dependency from Kierkegaard to Joyce (New York: Fordham University Press, 2013).Google Scholar
Marx, Karl, Capital: A Critique of Political Economy, vol. 1 (1867), trans. Ben, Fowkes, intr. Ernest, Mandel (New York: Penguin, 1992).Google Scholar
Moretti, Franco, ‘The Grey Area: Ibsen and the Spirit of Capitalism’, New Left Review 61 (2010), pp. 117–31.Google Scholar
Oxfeldt, Elizabeth, Nordic Orientalism: Paris and the Cosmopolitan Imagination 1800–1900 (Copenhagen: Museum Tusculanum Press, 2005).Google Scholar
Zhulina, Alisa, ‘The Invisible Stage Hand, or Henrik Ibsen’s Theatre of Capital’, Theatre Survey 59:3 (September 2018), pp. 386–408.CrossRefGoogle Scholar
Butler, Betsy, ‘“There Ain’t Anything in This World That Sells a Book Like a Pretty Cover”: Nineteenth-Century Publishers’ Bookbindings in Library Collections’, Art Documentation 29:1 (2010), 23–30.Google Scholar
Foot, Mirjam M., The History of Bookbinding As a Mirror of Society. The Panizzi Lectures 1997 (London: British Library, 1998).Google Scholar
Lundblad, Kristina, Bound to Be Modern: Publishers’ Cloth Bindings and the Material Culture of the Book, 1840–1914, trans. Alan, Crozier (New Castle, DE.: Oak Knoll Press, 2015).Google Scholar
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Åberg, Åke, ‘“Det moderna genombrottet” i svensk landsort: bokköp och tidningspress i Västerås 1870–1895’, Samlaren 116 (1995), pp. 52–74.Google Scholar
Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
Hansen, Henning, ‘Modern Reading: Swedish Book Consumption during the Late Nineteenth Century’, PhD dissertation, Tromsø: UiT The Arctic University of Norway, 2017.Google Scholar
Hansen, Henning, ‘Buying and Borrowing Books: Book Consumption in Late-Nineteenth Century Sweden’, Papers of the Bibliographical Society of Canada 54:1–2 (2016), pp. 121–54.Google Scholar
Haugen, Robert, Lesande handverkarar: boklån, bokutval og lesing ved Kristiania Møbelsnedkerforenings bibliotek 1896–1918’, MA thesis, Oslo: Høgskolen i Oslo, 2006.Google Scholar
Purtoft, Maria, ‘Gengangere var i virkeligheden en bestseller’, Edda 106:2 (2019), pp. 110–26.CrossRefGoogle Scholar
Svedjedal, Johan, Bokens samhälle: Svenska bokförläggareföreningen och svensk bokmarknad 1887–1943 (Stockholm: Svenska bokförläggareföreningen, 1993).Google Scholar
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Furuseth, Sissel et al., Norsk Litteraturkritikks historie (Oslo: Universitetsforlaget, 2016).Google Scholar
Halvorsen, Jens Brage, Norsk Forfatter-Lexikon 1814–1880, paa Grundlag af J.E. Krafts og Chr. Langes ‘Norsk Forfatter-Lexikon 1814–1856’, vol. 3 (Kristiania: Den norske Forlagsforening, 1892), pp. 1–89.Google Scholar
Ibsen, Henrik, Ibsen on Theatre, eds. Frode, Helland and Julie, Holledge with new translations of Henrik, Ibsen’s writings by May-Brit, Akerholt (London: Nick Hern Books, 2018).Google Scholar
Larsen, Peter, ‘Opplysning, underholdning og visuell offentlighet. Om den tidlige norske ukepresse’, in Hovden, Jan Fredrik and Knapskog, Karl (eds.), Hunting High and Low (Oslo: Scandinavian Academic Press, 2012).Google Scholar
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Butler, Betsy, ‘“There Ain’t Anything in This World That Sells a Book Like a Pretty Cover”: Nineteenth-Century Publishers’ Bookbindings in Library Collections’, Art Documentation 29:1 (2010), 23–30.Google Scholar
Foot, Mirjam M., The History of Bookbinding As a Mirror of Society. The Panizzi Lectures 1997 (London: British Library, 1998).Google Scholar
Lundblad, Kristina, Bound to Be Modern: Publishers’ Cloth Bindings and the Material Culture of the Book, 1840–1914, trans. Alan, Crozier (New Castle, DE.: Oak Knoll Press, 2015).Google Scholar
McKenzie, D.F., Bibliography and the Sociology of Texts (1986), new edition (Cambridge: Cambridge University Press, 1999).CrossRefGoogle Scholar
Saunders, Frederic, The Author’s Printing and Publishing Assistant: Including Interesting Details Respecting the Mechanism of Books (New York: Frederic Saunders, 1839).Google Scholar
Åberg, Åke, ‘“Det moderna genombrottet” i svensk landsort: bokköp och tidningspress i Västerås 1870–1895’, Samlaren 116 (1995), pp. 52–74.Google Scholar
Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
Hansen, Henning, ‘Modern Reading: Swedish Book Consumption during the Late Nineteenth Century’, PhD dissertation, Tromsø: UiT The Arctic University of Norway, 2017.Google Scholar
Hansen, Henning, ‘Buying and Borrowing Books: Book Consumption in Late-Nineteenth Century Sweden’, Papers of the Bibliographical Society of Canada 54:1–2 (2016), pp. 121–54.Google Scholar
Haugen, Robert, Lesande handverkarar: boklån, bokutval og lesing ved Kristiania Møbelsnedkerforenings bibliotek 1896–1918’, MA thesis, Oslo: Høgskolen i Oslo, 2006.Google Scholar
Purtoft, Maria, ‘Gengangere var i virkeligheden en bestseller’, Edda 106:2 (2019), pp. 110–26.CrossRefGoogle Scholar
Svedjedal, Johan, Bokens samhälle: Svenska bokförläggareföreningen och svensk bokmarknad 1887–1943 (Stockholm: Svenska bokförläggareföreningen, 1993).Google Scholar
Fjørtoft, Kari, Hedda Gabler i samtid og ettertid. Den norske kritikartradisjonen i kvinneperspektiv (Tromsø, Oslo, Bergen, Stavanger: Universitetsforlaget, 1986).Google Scholar
Furuseth, Sissel et al., Norsk Litteraturkritikks historie (Oslo: Universitetsforlaget, 2016).Google Scholar
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Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia, and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
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Jones, Derek (ed.), Censorship: A World Encyclopedia (London: Fitzroy Dearborn Publishers, 2001).Google Scholar
Nicholson, Steve, The Censorship of British Drama 1900–1968 (4 vols., Exeter: University of Exeter Press, 2003).Google Scholar
Stephens, John Russell, The Censorship of English Drama 1824–1901 (Cambridge: Cambridge University Press, 2010).Google Scholar
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Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
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Britain, Ian, ‘A Transplanted Doll’s House’, in Donaldson, Ian (ed.), Transformations in Modern European Drama (London: Macmillan, 1983), pp. 14–54.Google Scholar
Egan, Michael (ed.), Ibsen: The Critical Heritage (London: Routledge & Kegan Paul, 1972).Google Scholar
Ewbank, Inga-Stina, Lausund, Olav and Tysdahl, Bjørn, (eds.), Anglo-Scandinavian Cross-Currents 1850–1914 (Norwich: Norvik Press, 1999).Google Scholar
Fulsås, Narve and Rem, Tore, Ibsen, Scandinavia and the Making of a World Drama (Cambridge: Cambridge University Press, 2018).Google Scholar
McFarlane, James (ed.), The Cambridge Companion to Ibsen (Cambridge: Cambridge University Press, 1994).Google Scholar
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Lundeberg, Olav K., ‘Ibsen in France: A Study of the Ibsen Drama, Its Introduction, Vogue and Influence on the French Stage’, Scandinavian Studies and Notes 8 (1924/5), pp. 93–107.Google Scholar
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Shepherd-Barr, Kirsten, ‘Ibsen in France from Breakthrough to Renewal’, Ibsen Studies 12:1 (2012), pp. 56–80.CrossRefGoogle Scholar
Shepherd-Barr, Kirsten, ‘“Le grand metteur en scène”: Herman Bang in Paris, 1893–94’, Scandinavian-Canadian Studies 9 (1996), pp. 73–90.Google Scholar
Swanson, Carl A., ‘Ibsen and the Comédie Française’, Scandinavian Studies and Notes 19 (1946), pp. 70–8.Google Scholar
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Hutcheon, Linda, A Theory of Parody: The Teachings of Twentieth-Century Art Forms (Urbana: University of Illinois Press, 1985).Google Scholar
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Ibsen, Henrik, Ibsen on Theatre, eds. Frode, Helland and Julie, Holledge with new translations of Henrik, Ibsen’s writings by May-Brit, Akerholt (London: Nick Hern Books, 2018).Google Scholar
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Hagen, Erik Bjerck, Hvordan lese Ibsen. Samtalen om hans dramatikk 1879–2015 (Oslo: Universitetsforlaget, 2015).Google Scholar
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Osenton, Sara, ‘Differently Equal: Ibsen’s Nora, the New Woman and the Evolution of Self-Orientalization in Japan’, Canadian Review of Comparative Literature, June (2011), pp. 226–39.Google Scholar
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Tam, Kwok-kan, Ibsen, Power and the Self: Postsocialist Chinese Experimentations in Stage Performance and Film (Oslo: Novus Press, 2019).Google Scholar
Xia, Liyang, ‘Heart Higher Than the Sky: Reinventing Chinese Femininity through Ibsen’s Hedda Gabler’, PhD thesis, University of Oslo, 2013.Google Scholar
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Holledge, Julie, Bollen, Jonathan, Helland, Frode and Tompkins, Joanne, A Global Doll’s House: Ibsen and Distant Visions (London: Palgrave Macmillan, 2016).Google Scholar
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Mairowitz, Davis Zane, Moen, Geir and Ibsen, Henrik, Peer Gynt (Oslo, Minuskel forlag, 2014).Google Scholar
Moen, Geir and Runde, Øystein, De fire store. Når de døde våkner (Oslo: Gyldendal, 2007).Google Scholar
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