Skip to the main content

Review article

https://doi.org/10.21464/sp31107

Modernist Tradition in Henrik Ibsen’s Hedda Gabler and When We Dead Awaken

Nemanja Vujičić orcid id orcid.org/0000-0003-1400-550X ; Maksima Gorkog 2/18, RS–18000 Niš


Full text: croatian pdf 428 Kb

page 105-115

downloads: 621

cite

Full text: english pdf 428 Kb

page 105-115

downloads: 688

cite

Full text: french pdf 428 Kb

page 105-115

downloads: 446

cite

Full text: german pdf 428 Kb

page 105-115

downloads: 1.490

cite


Abstract

The aim of this paper is to show that Ibsen’s plays Hedda Gabler and When We Dead Awaken generally support modernist ideology as summed up in Lionel Trilling’s “On the Teaching of modern Literature” and Toril moi’s Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. Trilling defines the theme of modernist literature as a “quarrel with culture”, using as reference Nietzsche’s teaching that aesthetics, not ethics, is the primary metaphysical activity of human beings. Trilling further focuses on “primitive” and artistic Dionysian passions this era affirms as inherently human. moi’s study, on the other hand, discusses “aesthetic idealism” of the 18th and 19th centuries, which seems to devaluate that portion of human beings. Having this theoretical background in mind, we can argue that Ibsen announces the modernist era, which dispenses with the idealistic tradition of the 19th century.

Keywords

Henrik Ibsen; modernism; aesthetic idealism; quarrel with culture; Apollo–Dionysus duality

Hrčak ID:

179903

URI

https://hrcak.srce.hr/179903

Publication date:

5.9.2016.

Article data in other languages: croatian french german

Visits: 5.391 *