O presente trabalho é uma proposição sobre as possibilidades cênicas das quatro peças que compõe o último ciclo da obra de Henrik Ibsen (Solness, o Cons-trutor, John Gabriel Borkman, O Pequeno Eyolf e Quando nós, os mortos, desper-tarmos) para além dos limites normalmente estabelecidos pelo Realismo. A questão da fidelidade ao texto é relativizada pela noção de ponto de vista que estabelece o diálogo com referências de outros criadores, circunscritos por um campo de coerência. / The present work is a proposition on the scenic possibilities of the four plays that make up the last cycle of the work of Henrik Ibsen (Solness the Builder, John Gabriel Borkman, Little Eyolf and When we dead awaken) beyond the limits normally set by Realism. The issue of fidelity to the text is relativized by the notion of a point of view es-tablishing dialogue with references from other breeders, circumscribed by a field of coherence.

Abh. : Philosophie : Zürich : 1984.

O presente trabalho é uma proposição sobre as possibilidades cênicas das quatro peças que compõe o último ciclo da obra de Henrik Ibsen (Solness, o Cons-trutor, John Gabriel Borkman, O Pequeno Eyolf e Quando nós, os mortos, desper-tarmos) para além dos limites normalmente estabelecidos pelo Realismo. A questão da fidelidade ao texto é relativizada pela noção de ponto de vista que estabelece o diálogo com referências de outros criadores, circunscritos por um campo de coerência. / The present work is a proposition on the scenic possibilities of the four plays that make up the last cycle of the work of Henrik Ibsen (Solness the Builder, John Gabriel Borkman, Little Eyolf and When we dead awaken) beyond the limits normally set by Realism. The issue of fidelity to the text is relativized by the notion of a point of view es-tablishing dialogue with references from other breeders, circumscribed by a field of coherence.

Inaug.-diss.--Münster. / Lebenslauf. At head of title: Anglistik. "Anhang. Der brief Pineros über seine unabhängigkeit von Ibsen": p. 65. "Literatur": p. vii-viii.

Thèse univ.--Paris--Lettres, 1935. / L'éd. ancienne a paru dans la "Bibliothèque de la Revue de littérature comparée" Bibliogr. p. 247-259.

Thèse de doctorat : Histoire de l'art contemporain : Lyon 2 : 2001. / Titre provenant de l'écran-titre. Bibliogr.

William Shakespeare’s influence on the genre of tragedy is both powerful and undeniable, while contemporary notions about tragedy have shifted into a modern light through the influence of Norwegian playwright Henrik Ibsen. This study concentrates specifically on Hamlet and A Doll’s House in order to indicate the ways in which ideas of tragedy have evolved. By investigating the effect of religion in Hamlet and the absence of it in A Doll’s House, I will argue that the main shift in tragedy is the loss of God. This thesis examines the transformation of the two heroes throughout the course of their respective plays and, in doing so, identifies the formal features which mark their claims to tragedy. While their processes differ greatly—Hamlet’s transformation is through a super-textual and self-analytic process while Nora’s process is one that emphasizes action over thought—both of their journeys are tied to the crucial and utterly tragic truth that they must face: the breakdown of their family.

William Shakespeare’s influence on the genre of tragedy is both powerful and undeniable, while contemporary notions about tragedy have shifted into a modern light through the influence of Norwegian playwright Henrik Ibsen. This study concentrates specifically on Hamlet and A Doll’s House in order to indicate the ways in which ideas of tragedy have evolved. By investigating the effect of religion in Hamlet and the absence of it in A Doll’s House, I will argue that the main shift in tragedy is the loss of God. This thesis examines the transformation of the two heroes throughout the course of their respective plays and, in doing so, identifies the formal features which mark their claims to tragedy. While their processes differ greatly—Hamlet’s transformation is through a super-textual and self-analytic process while Nora’s process is one that emphasizes action over thought—both of their journeys are tied to the crucial and utterly tragic truth that they must face: the breakdown of their family.

Diss. Stockholm : Stockholms universitet, 2007.

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