Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xii, 151 p.; also includes graphics. Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center

Theoretical part of this work is concerned about historical roots of the theatre play Enemy of the People by Henrik Ibsen. It is also concerned about history of Estate Theater in Pra-gue, where the play should take place. I am also concerned about the background of the author Henrik Ibsen's life. And also part of the work is about other previews authors, that have been working on the play before. In Practical part I offer new solution for visual part of the drama in context of present time and space.

Este trabalho pretende, a partir da análise das obras literárias Casa de Boneca (1879) de Henrik Ibsen e Dom Casmurro (1899) de Machado de Assis, verificar a atualidade da crise representada nas personagens femininas Nora e Capitu. Trata-se de identificar a relação entre forma artística e a experiência, tendo em vista o jogo de espelhos entre arte e vida. Reconhecer, portanto, como a estrutura social, mais especificamente a familiar, está refletida no drama e no romance do século XIX. Desde a cisão entre esfera pública e doméstica traçar encontros e desencontros entre as personagens que estão inseridas na ficção presas na rede do patriarcado. A crise flagrada com a saída de Nora e o exílio de Capitu nos deixa a pergunta sobre que tipo de sociabilidade somos capazes de construir sob a exclusão inevitável proposta pelo sistema capitalista. / The aim of this study is to anylise two literary works: Casa de Boneca (Doll\'s House) by Henrik Ibsen (1879) and Dom Casmurro by Machado de Assis (1899). The main idea was to verify if the crisis represented by the two female characters, Nora and Capitu, can be found nowadays. In other words, the objective is to identify the relationship between the artistic form and the real experience, focusing on situations as mirror games envolving life and art. Therefore, we will answer how the social and more specifically the family structure is reflected in the drama and in the romance of the 19th century. Based on the breaking of the social and the family actions, the profile of similarities and divergences between the characters that are inserted in the fiction, are captured and the domination of a patriarch emerges. From the crisis which made Nora leave home and provoked Capitus exile, a question arises: what type of social relationships are we able to construct under the inevitable circumstances of exclusion imposed by the capitalism society.

Thesis (M.F.A)--Boston University. Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts. Boston University, School of Fine and Applied Arts, June 1962.

This work examines the author's experience in teaching A Doll House by Henrik Ibsen to students in the course Play Analysis, THEA 2440, at the University of North Texas in the Fall 2003 and Spring 2004 semesters. Descriptions of the preparations, presentations, student responses, and the author's self-evaluations and observations are included. Included as appendices are a history of Henrik Ibsen to the beginning of his work on A Doll House, a description of Laura Kieler, the young woman on whose life Ibsen based the lead character, and an analysis outline form that the students completed for the play as a requirement for the class.

Henrik Ibsen's critics have long acknowledged his mastery of the stage, that is, his use of the physical and off-stage settings, architectural details, props, and space as symbol. However, study of Ibsen's symbolic settings has been limited to one play or to aspects of his stagecraft in general terms. Peter Tenant's Ibsen's Dramatic Technique discusses the settings and stage directions of his major plays as they relate to plot and theme. In Patterns of Ibsen's Middle Plays, Richard Hornby studies the settings and scenic background only for An Enemy of the People. Edward Beyer in Ibsen's The Man And His Work focuses on the plays' symbols as they relate to theme. Finally, David Thomas presents an excellent study of stage space in The Lady From the Sea. These authors and others have touched upon the genius of Ibsen's stagecraft. More can and should be said because understanding Ibsen's symbolic settings will lead to a deeper reading and appreciation of his plays. Ibsen's use of the symbolic setting provides focus and unity to the plays that were written between 1882 and 1892. His settings become a projection of his major themes and the characters• souls or psyches. Areas on and off the stage, props, furniture, and architectural details may be a stage projection of the protagonist's mind, intention, motivation, or suppression. Since the essential nature of drama is conflict, Ibsen often uses his settings as symbols of conflict. Varied settings, architectural details, placement of the furniture, and the characters• positions and movement on the stage provide a visual symbolism for his themes in An Enemy of the People, Rosmersholm, Lady From The Sea, Hedda Gabler, and The Master Builder. Ibsen's settings often caused a great deal of trouble to stage because they were complicated. Indoor settings were his effort to create a realistic illusion, while his later abandonment of indoor settings coincided with his reversion to romantic symbolism, according to Tenant (67). With The Lady From The Sea in 1888, his plays expanded to the open air. Three plays, Rosmersholm, The Lady From the Sea, and The Master Builder, begin in an enclosed setting that gradually and symbolically takes the protagonist to the outdoors and freedom. However, in The Enemy of the People, Ibsen uses enclosed settings that are mirror images of one another, thus symbolizing the pattern of thematic contrasts. Only Hedda Gabler takes place in one enclosed set, which becomes a symbolic entrapment for Hedda. In these latter two plays and The Master Builder, Ibsen enlarged his stage with the help of an inner room or a back room that functioned not only as a way to place his characters and therefore complicate the plot, but also to project his themes and his characters' psychological states. In addition, he uses off-stage settings not only to symbolize further the conflicts within his characters, but also to enhance his themes.

Henry VIII is known as the king who changed the direction of the Chruch of England, because of not being able to divorce his wife Catherine of Aragon. Everyone who has the smallest interest in history will know who this man is, and he keeps fascinating us until this day. How are his motives to the reformation and the divorce portrayed in literature during the last 100 years? Was the divorce the only reason for the start of the English reformation? These topics will be examined in this essay written at a bachelor level.

This degree project is a study investigating how the historiography of king Henry VIII of England has changed between 1887-1995. The aim of the study was to gain insight into how the historiography of Henry VIII and the most important aspects of his reign were viewed at different periods of the 19th and 20th centuries and how it has changed over that period. To achieve this aim, Karlsson’s and Zander’s theory about the uses of history was used along with a qualitative method of analysis. The results show that a change did occur in the historiography around Henry VIII at the beginning of the 20th century when the traditional Whig-school of writing history was surpassed by the modernist school of writing. Henry VIII went from being represented as a great ruler with his peoples’ best at heart to a flawed individual whose decisions were often motivated by selfish reasons. Overall, the historiography of Henry VIII has changed from glorifying the king’s personality to showing a more factual picture of the king and the advisors at his court.

Esta investigação consiste de uma leitura psicanalítica da peça Peer Gynt, de Henrik Ibsen. Inicialmente, o autor apresenta a obra mencionada de forma sintética e explicita a sua trajetória de conhecimento e interesse pela obra. Em seguida, situa sua leitura numa tradição que remonta não apenas à longa história das interpretações psicanalíticas de obras de arte, mas também àquela das análises realizadas sobre essa obra em particular. Dentre as últimas, apresenta e critica as análises feitas sobre a peça por W. Reich, G. Groddeck, M. Little e R. May. Também resgata os comentários de Freud sobre Ibsen e suas obras. A partir daí, apoiando-se em uma perspectiva metodológica dialógica, inspirada por M. Bahktin, bem como no método psicanalítico de investigação, o autor investe na criação de uma construção interpretativa do drama. Ao longo dessa construção, certas passagens da obra ganham visibilidade e sentidos renovados a partir do diálogo com referenciais teórico-clinicos de alguns autores da psicanálise contemporânea (D. Winnicott, C. Bollas, T. Ogden, entre outros). É desta forma que certos temas como a impossibilidade de sonhar, a mentira, o trauma, a convenção, o falso, a amorfia, o self, entre outros, vão surgir e ser desdobrados. Tal investigação se torna, por fim, uma possibilidade de ampliar e atualizar a compreensão da peça, inserindo-a no debate sobre a condição humana desde o viés do pensamento psicanalítico contemporâneo / This research consists of a psychoanalytic reading of Henrik Ibsens play \"Peer Gynt\". Initially, the author presents the aforementioned play in a concise way and makes explicit the history of his knowledge and interest for this work. Then he places his reading amongst a tradition that goes back not only to the long history of psychoanalytic interpretations of works of art, but also to that of the interpretations about this particular work. Among the latter he presents and criticizes the interpretations made by W. Reich, G. Groddeck, M. Little and R. May. He also recollects Freud\'s comments on Ibsen and his works. Thereafter, relying on a dialogical methodological perspective, inspired by M. Bahktin, as well as on the psychoanalytic method of investigation, the author engages in drawing up an interpretative construction on the drama. Throughout this construction, certain parts of the play gain visibility and renewed meanings rise from the dialogue with theoretical and clinical references from some contemporary psychoanalytic authors (D. Winnicott, C. Bollas, T. Ogden, and others). This is how certain themes such as the impossibility of dreaming, the lie, the trauma, the convention, the false, the formlessness, the self, and others will appear and be unfolded. This research becomes, finally, an opportunity to broaden and update the understanding of the play, casting it into the debate around the human condition from the bias of contemporary psychoanalytic thought

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