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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


Puni tekst: hrvatski pdf 428 Kb

str. 105-115

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Puni tekst: engleski pdf 428 Kb

str. 105-115

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Puni tekst: francuski pdf 428 Kb

str. 105-115

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Puni tekst: njemački pdf 428 Kb

str. 105-115

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Sažetak

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.

Ključne riječi

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

Hrčak ID:

179903

URI

https://hrcak.srce.hr/179903

Datum izdavanja:

5.9.2016.

Podaci na drugim jezicima: hrvatski francuski njemački

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