Thesis (Ph. D.)--Columbia University, 1935. / Bibliography: p. 253-255.

Author's inaugural dissertation, Munich. / "Literaturverzeichnis": verso of 4th prelim. leaf.

Thesis (M.S.)--University of Wisconsin--Madison, 1966. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 78-87).

Western plays were introduced to Korea in the early twentieth century. Although the Japanese cultural influence was evident in the interpretations, as the plays were initially translated into Japanese and performed by Japanese theatre, those productions of Western plays gave Korean theatre lovers a new insight about different conventions and traditions of Western plays. The strong influence of Western plays, particularly Realism, was dominant in playwrighting and production. Henrik Ibsen's A Doll's House has proved to be one of the most influential foreign pieces of literature in Korea. In the cultural and social climate of Korea during the 1920's, the character Nora became a revolutionary figure who slammed shut the door to her house and marriage to go out into the world. She was worshipped and idolized by Korean readers—by both genders—who eagerly longed to leave the realm of their suffocating morality. There have been various Korean versions of Nora appearing in Korean plays and other literature, as a result of the strong impact of Nora in Korea. In the plays of the 1930's, Korean versions of Nora were given two choices: one was to slam shut the door to the male-dominant society, the other to kill herself, which is a somewhat Korean manifestation of Hedda Gabler. Although there was no record of translation of Hedda Gabler into Korean during the 1930's period, Hedda Gabler has been performed recently in Korea by various Korean theatre groups. The aim of this Korean translation of Hedda Gabler is to provide Korean readers and audiences with a faithful and competent translation as well as to promote a better understanding of Hedda Gabler. In spite of the wide cultural distance, Hedda Gabler and A Doll's House appeal to Korean readers and audiences. Neither Nora nor Hedda has the same predicament and qualification as a Korean woman, but their spiritual aspiration is similar to that of a Korean woman. There exists no private measurement to remedy their dilemma. However, Hedda's spiritual battle and the palpable consequence of her struggle still need to be told to Korean readers and audiences. In the course of the translation work, this need has been strongly sustained and the writer hopes this translation will be useful in Korea. / Arts, Faculty of / Theatre and Film, Department of / Graduate

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Este trabalho, composto de três volumes (I. Historiografia; II. Seleção de textos críticos; e III. Catálogo bibliográfico), tem como objetivo apresentar um panorama da recepção de Ibsen no Brasil. O primeiro volume traz uma avaliação da fortuna crítica de Ibsen no Brasil, passando pelas idéias teatrais do século XIX, pela modernização do teatro nos anos 1940, até chegar às tendências críticas contemporâneas. O segundo traz os textos mais relevantes para o entendimento da obra do dramaturgo, publicados no Brasil entre 1895 e 2002. Por fim, o terceiro apresenta os dados bibliográficos sobre as traduções brasileiras das peças do autor; sobre as montagens realizadas no teatro e na tv; sobre os livros, capítulos de livros, prefácios e textos publicados em periódicos sobre o dramaturgo. Com esse percurso, buscou-se compreender o modo de assimilação do teatro ibseniano pela crítica brasileira, levando em consideração as influências estrangeiras, especialmente a francesa. Ao mesmo tempo, procurouse ressaltar os momentos de ruptura com essa tradição, sobretudo a partir das reflexões de Antonio de Alcântara Machado, Otto Maria Carpeaux e Anatol Rosenfeld, que deram uma nova orientação para a leitura das peças de Ibsen. / This work, composed of three volumes (I. Historiography; II. Selection of critical texts; and III. Bibliographical catalogue), presents an overview of the reception of Ibsen in Brazil. The first volume is an assessment of the rich and varied criticism Ibsen received in Brazil within the context of the theatrical ideas of the nineteenth century, the modernization of the theatre in the 1940s, until the contemporary level of critical trends. The second selects the most relevant texts in order to understand the works of the playwright, which were published in Brazil from 1985 and 2002. Finally, the third presents bibliographical information on Brazilian translations of his plays; on adaptations carried through in theatre and on TV; in books, book chapters, prefaces and texts published in periodicals about the playwright. Through this route, an attempt was made to understand the way Ibsenian theatre was assimilated by Brazilian critics, taking into account foreign influences, especially of French origin. At the same time, we attempt to highlight examples of breaking from such tradition, especially considering the thoughts of Antonio de Alcântara Machado, Otto Maria Carpeaux and Anatol Rosenfeld, who gave us another approach to the studies of Ibsen\'s plays.