| With the Book in Hand: Ibsen’s Early'Redam Editions and the Birth of a New Play Reading Culture
|
2024 |
Schor, Ruth |
| The Medical Plausibility of Osvald’s Disease
|
2024 |
Johnsson, Henrik |
| A Brief History of the Centre for Ibsen Studies
|
2023 |
Rees, Ellen |
| The Rise of Digital Humanities Approaches to Ibsen
|
2023 |
Hanssen, Jens-Morten |
| [Rezension von: Sæther, Astrid, 1945-, I skyggen av Ibsen]
|
2023 |
Haave, Jørgen |
| Theatrical Adaptation of Ibsen's An Enemy of the People in Iran: The Intellectual and Modernity in Akbar Radi’s The Decline
|
2023 |
Farhadi, Ramin |
| Peer Gynt: From Play to Game
|
2023 |
Sandberg, Magnus Henrik |
| Peripeteia: Ibsen’s History in Hedda Gabler and the Pretenders
|
2023 |
Schiedermair, Joachim |
| Ibsen Studies and Adaptation
|
2023 |
Holt, Thor |
| Out Of Time: John Gabriel Borkman and the End of Drama
|
2023 |
Ledderose, Patrick |
| The Master’s Fall: The Fall of the Bourgeoisie Through the Fall of Patriarchy
|
2023 |
Manouchehrian, Farid |
| [Rezension von: Hanssen, Eirik Frisvold, 1975-, Silent Ibsen: transnational film adaptation in the 1910s and 1920s]
|
2023 |
Engelstad, Audun |
| A Short History of Ibsen Reception Studies
|
2023 |
D’Amico, Giuliano |
| Ibsen in Performance
|
2023 |
Rees, Ellen |
| My Nora in Wu Xiaojiang’s A Doll’s House (1998): Aesthetic Transmission and Political Context
|
2022 |
Haaland, Agnete G. |
| The Dreams of a Spanish Patriot: Alfredo Marquene's Fascist Version of Ibsen’s An-Enemy of the People (1963) Doctoral Defense Debate
|
2022 |
Gomez-Baggethun, Cristina |
| Doctoral Defense: Ibsen on the West African Stage—A Case of a Complicated Relationship
|
2022 |
Anku, Solace Sefakor |
| (Post) Colonial Ghanaian Attitudes Towards Ibsen: An Overview of Ibsen Reception in Ghana Between 1930 and 1966
|
2022 |
Anku, Solace Sefakor |
| Making NativePeer. The Process of Transformative Aesthetics
|
2022 |
Nilu, Kamaluddin |
| The Platonic Intertext in Ibsen’s Hedda Gabler and Little Eyolf
|
2022 |
Tomljenovic, Ana |
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