Ibsen Scandinavia And The Making Of A World Drama

Reveals the processes by which Ibsen's drama, while firmly rooted in his Scandinavian origins, was appropriated by other European traditions.

Sacred kingship has been the core political form, in small-scale societies and in vast empires, for much of world history. This collaborative and interdisciplinary book recasts the relationship between religion and politics by exploring this institution in long-term and global comparative perspective. Editors A. Azfar Moin and Alan Strathern present a theoretical framework for understanding sacred kingship, which leading scholars reflect on and respond to in a series of essays. They distinguish between two separate but complementary religious tendencies, immanentism and transcendentalism, which mold kings into divinized or righteous rulers, respectively. Whereas immanence demands priestly and cosmic rites from kings to sustain the flourishing of life, transcendence turns the focus to salvation and subordinates rulers to higher ethical objectives. Secular modernity does not end the struggle between immanence and transcendence—flourishing and righteousness—but only displaces it from kings onto nations and individuals. After an essay by Marshall Sahlins that ranges from the Pacific to the Arctic, the book contains chapters on religion and kingship in settings as far-flung as ancient Egypt, classical Greece, medieval Islam, Mughal India, modern European drama, and ISIS. Sacred Kingship in World History sheds new light on how religion has constructed rulership, with implications spanning global history, religious studies, political theory, and anthropology.

The fin de siècle witnessed an extensive and heated debate about cosmopolitanism, which transformed readers' attitudes towards national identity, foreign literatures, translation, and the idea of world literature. Focussing on literature written in English, Literary Cosmopolitanism in the English Fin de Siècle offers a critical examination of cosmopolitanism as a distinctive feature of the literary modernity of this important period of transition. No longer conceived purely as an abstract philosophical ideal, cosmopolitanism—or world citizenship—informed the actual, living practices of authors and readers who sought new ways of relating local and global identities in an increasingly interconnected world. The book presents literary cosmopolitanism as a field of debate and controversy. While some writers and readers embraced the creative, imaginative, emotional, and political potentials of world citizenship, hostile critics denounced it as a politically and morally suspect ideal, and stressed instead the responsibilities of literature towards the nation. In this age of empire and rising nationalism, world citizenship came to enshrine a paradox: it simultaneously connoted positions of privilege and marginality, connectivity and non-belonging. Chapters on Oscar Wilde, Lafcadio Hearn, George Egerton, the periodical press, and artificial languages bring to light the variety of literary responses to the idea of world citizenship that proliferated at the turn of the twentieth century. The book interrogates cosmopolitanism as a liberal ideology that celebrates human diversity and as a social identity linked to worldliness; it investigates its effect on gender, ethics, and the emotions. It presents the literature of the fin de siècle as a dynamic space of exchange and mediation, and argues that our own approach to literary studies should become less national in focus.

This book maps South Asian theatre productions that have contextualised Ibsen’s plays to underscore the emergent challenges of postcolonial nation formation. The concerns addressed in this collection include politico-cultural engagements with human rights, economic and environmental issues, and globalisation, all of which have evolved through colonial times and thereafter. This book contemplates why and how these Ibsen texts were repeatedly adapted for the stage and consequently reflects upon the political intent of this appropriative journey of the foreign playwright. This book tracks the unmapped agency that South Asian theatre has acquired through aesthetic appropriation of Ibsen and thereby contributes to his global reception. This collection will be of great interest to students and scholars of theatre and performance studies.

Henrik Ibsen's plays have long beguiled philosophically-oriented readers. From Nietzsche to Adorno to Cavell, philosophers have drawn inspiration from Ibsen. But what of Ibsen's own philosophical orientation? As part of larger European movements to reinvent drama, Ibsen and fellow playwrights grappled with contemporary philosophy. Philosophy of drama found a central place with figures such as Gotthold Ephraim Lessing and Johann Gottfried Herder, but reached its mature form, in Ibsen's time, in the works of G.W.F. Hegel and Friedrich Nietzsche. Kristin Gjesdal reveals the centrality of philosophy of theater in nineteenth-century philosophy and shows how drama, as an art form, offers insight into human historicity and the conditions of modern life. The Drama of History deepens and actualizes the relationship between philosophy and drama--not by suggesting that either philosophy or drama should have the upper hand, but rather by indicating how a sustained dialogue between them brings out the meaning and intellectual power of each. Her study reveals underappreciated aspects of Hegel's and Nietzsche's works through their reception in European art and investigates the philosophical dimensions of Ibsen's drama. At the heart of this interrelation between philosophy and drama is a shared interest in exploring the existential condition of human life as lived and experienced in history.

Decentering European Intellectual Space reconsiders the nature of cultural Europe by challenging intellectual historians to pay closer attention to the asymmetries and encounters between Europe’s fluctuating cores and peripheries.

Literary museums today must respond to new challenges; the traditional image of the author’s home museum as a sacred place of literary pilgrimage centered around a national hero has been questioned, and literary museums have begun to develop new strategies centered not only on biography, but also literary texts, imagined spaces, different readers, historical contexts, architectural concepts, and artistic interventions. As this volume shows, the changing of spaces asks how literary museums create new ways of interlinking real and literary spaces, texts, objects, readers, and tourists.

What is—and what was—“the world”? Though often treated as interchangeable with the ongoing and inexorable progress of globalization, concepts of “world,” “globe,” or “earth” instead suggest something limited and absolute. This innovative and interdisciplinary volume concerns itself with this central paradox: that the complex, heterogeneous, and purportedly transhistorical dynamics of globalization have given rise to the idea and reality of a finite—and thus vulnerable—world. Through studies of illuminating historical moments that range from antiquity to the era of Google Earth, each contribution helps to trace the emergence of the world in multitudinous representations, practices, and human experiences.