scholarly journals Ibsen in Dutch theatres and the sustainability of Nora

Nordlit ◽  
2015 ◽  
pp. 445
Author(s):  
Janke Klok
Keyword(s):  
The Netherlands ◽  
Cultural Transmission ◽  
Translation Theory ◽  
Women Directors ◽  
Female Characters ◽  
Social Reformer ◽  
New Era ◽  
Avant Garde ◽  
New Women ◽  
New Ideas

<p align="JUSTIFY"><span lang="en-GB">In this article I reflect on Ibsen's laborious road to the Dutch stages to display the reciprocal influence between innovating theatre plays and the process of a modernizing society. In doing this I take into account insights from translation theory and the thinking on cultural mediation, whereby cultural transmission is seen as a way of interacting: the receiving culture’s receptivity towards new ideas and new forms is crucial for the space available for innovative literature from abroad. </span></p><p align="JUSTIFY"><span lang="en-GB">Tracking Ibsen on the Dutch stages shows a wavelike movement. Research into the reception of Ibsen supports the claim by the Dutch author Ina Boudier-Bakker (1875-1966) who used the late first staging of Ibsen's </span><span lang="en-GB"><em>A Doll's House</em></span><span lang="en-GB"> (1889) to illustrate the Amsterdam and Dutch conservatism with regard to gender roles and avant-garde art. Prior to 1890 the Netherlands lagged behind other European countries. With the Dutch production of </span><span lang="en-GB"><em>A Doll</em></span><span lang="en-GB">’</span><span lang="en-GB"><em>s House </em></span><span lang="en-GB">a new era arrives.</span><span lang="en-GB">After a flying start and a growing appreciation for Ibsen as a social reformer, particularly concerning entrenched (gender) conventions, Dutch critics in the period 1930-1970, do not seem to be able to place Ibsen’s plays. A qualitative analysis of the revival by way of the jubilee performance </span><span lang="en-GB"><em>Ghosts</em></span><span lang="en-GB"> in 1956, shows that Dutch audiences hold off a contemporary debate by focusing on geographical and ethnographical distance. It indicates that in the fifties this audience was intellectually and artistically conservative. Tracking Ibsen on the stages after 1970 shows us the current multicultural society; it shows us a renewed interest in his female characters, which culminates with Nora. It shows us an increasing number of women directors in Dutch theatres, also in advanced theatre school performances. Present-day Dutch theatres and their audiences seem to be mostly interested in Ibsen’s theatre women, be it his female characters or the relatively new phenomenon of women directing his plays. Their experiments with his texts are highly appreciated and show a renewed interest in public debate, re-establishing the discussion that was aroused in the first period of staging Ibsen in the Netherlands. The experiments with Ibsen’s “old” female characters by his “new” women directors form a most important ingredient of his modernity and sustainability, both where content (feminism = noraism) and where form are concerned. It is these women who confirm Ibsen’s position as an author of today’s world. </span></p>

THE NEW ERA AND THE NEW WOMAN

2004 ◽  
Vol 73 (3) ◽  
pp. 425-462 ◽  
Author(s):  
K. A. CLEMENTS
Keyword(s):  
World War I ◽  
Social Welfare ◽  
Progressive Era ◽  
Young Women ◽  
Professional Education ◽  
World War ◽  
New Era ◽  
New Women ◽  
The New Woman ◽  
Domestic Roles

Lou Henry Hoover, wife of Herbert Hoover, demonstrated the strengths and limitations of the expanded social de�nition of womanhood that had been won by reformers during the Progressive Era and World War I. As a leader of several business and women's social welfare organizations, she urged young women to follow her example in seeking professional education and careers as well as upholding traditional domestic roles. Protected by wealth and social status from the most burdensome aspects of domesticity, her public position emphasized the opportunities but understated problems faced by the "new women" in the 1920s and later generations.

Rhetoric and Dutch Translation Theory (1750-1820)1

Target ◽  
1993 ◽  
Vol 5 (1) ◽  
pp. 55-69 ◽  
Author(s):  
Luc G. Korpel
Keyword(s):  
The Netherlands ◽  
Functional Approach ◽  
European Countries ◽  
Translation Theory ◽  
Dutch Version ◽  
Crucial Step ◽  
Rhetorical Tradition ◽  
Dutch Translation ◽  
Theory Of Language ◽  
Definition Of

Abstract Due to the influence of rhetoric, Dutch translation theory between 1750 and 1820, like translation theory in other Western European countries in those days, was primarily concerned with the effect of a translation on the Dutch public and the verbal appearance of the Dutch version. This functional approach was reinforced by the definition of translation as interpretatio, imitatio or exercitatio. The translational technique which follows from this prospective orientation is one of adaptation, correction and improvement. By the end of the period, Dutch translation theory seemed to be moving away slowly from the rhetorical tradition, as a result of two major changes: (1) a growing concern as of ± 1780 for fidelity to the verbal aspects of the original within the interpretatio-approach, and (2) a decrease in the popularity of imitatio as a creative technique after 1800. Unlike Germany, translation theory in The Netherlands had not made the crucial step towards a new theory of language before 1820.

Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema

2019 ◽  
pp. 41-62
Author(s):  
Maya Montañez Smukler
Keyword(s):  
Women Directors ◽  
Female Characters ◽  
American Cinema ◽  
New Hollywood ◽  
Second Wave Feminism ◽  
Feminist Film ◽  
The 1960S ◽  
First Time ◽  
Second Wave ◽  
Made In

Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.

Modernismo’s Literary Engagements with Film

2018 ◽  
pp. 181-207
Author(s):  
Maite Conde
Keyword(s):  
Experimental Literature ◽  
Brazilian Literature ◽  
Mario De Andrade ◽  
Avant Garde ◽  
Literary Movement ◽  
Art Form ◽  
New Ideas ◽  
Film Form

By the 1920s, new ideas regarding film as the seventh art disseminated in Europe had a profound effect on Brazilian literature, specifically the emergence of an avant-garde literary movement known as modernismo, or “modernism.” Charting the new theories regarding cinema as an art form, this chapter examines how they were appropriated and elaborated by modernist writers in Brazil in the 1920s, most notably in the novels of Oswald de Andrade, the poetry of Mário de Andrade, and an urban chronicle by Antônio de Alcântara Machado called Pathé Baby. In examining this experimental literature, the chapter shows how new international ideas regarding film form and aesthetics provided the modernist writers with a tool for critiquing the official trajectory of national modernity in Brazil.

Awash in the Storm of National Revolution

2016 ◽  
Author(s):  
Motoe Sasaki
Keyword(s):  
United States ◽  
Gender Differences ◽  
The United States ◽  
Women Missionaries ◽  
New Developments ◽  
New Women ◽  
New Ideas

This chapter explores the aftermath of the collapse of the Wilsonian moment and its uneven and gendered effects on American New Women missionaries' enterprises in the Nationalist Revolution period (1924–27). It was at this time that the missionaries came to feel the power of the national revolution movement and found their projects were being reframed within new ideas and articulated in a new vocabulary that had become current in China. In taking such changes into account, they had to interpret and respond to new developments and ultimately reconsider their own perceptions of the United States and the very nature of their existence in China. Local Chinese resistance to their educational projects and institutions directed toward American New Women missionaries also brought into play gender differences and issues among the Chinese themselves and consequently made the difficulties facing the missionaries all the more complex and entrenched.

The Englishness of Jewish Modernity in England

2010 ◽  
pp. 65-81
Author(s):  
Todd M. Endelman
Keyword(s):  
The Netherlands ◽  
Central Europe ◽  
Reform Judaism ◽  
German States ◽  
Jewish Experience ◽  
New Ideas ◽  
German Jewish ◽  
Wissenschaft Des Judentums

This chapter talks about the Jewish historians who looked to the German Jewish experience as the paradigm for the transformation of European Jewry. It reviews the pioneers of Reform Judaism and practitioners of Wissenschaft des Judentums as the key actors in Jewish development. It also explains how Jewish historians constructed a model of change in which new ideas radiated outwards from Berlin and slowly diffused throughout Europe. The chapter considers Jewish historians who looked at developments in Germany from the perspective of liberal states like Britain, France, and the Netherlands, which was problematic as the German states were not in the vanguard of change. It describes the course of Jewish transformation in central Europe that reflected the backward nature of the states in the region.

Richmond

Alive Still ◽  
2019 ◽  
pp. 3-14
Author(s):  
Cathy Curtis
Keyword(s):  
High School ◽  
Early Years ◽  
Drop Out ◽  
Only Child ◽  
Advertising Agency ◽  
Avant Garde ◽  
New Ideas ◽  
First Time ◽  
Evening Class

Born in 1922 in Richmond, Virginia, Nell Blaine was a rebellious only child, a loner fussed over by her mother. Her early years were plagued by serious vision problems, finally corrected in her teens. She was active in extracurricular clubs in both high school and college, where she encountered avant-garde art for the first time. Although she had to drop out of college after two years for financial reasons, she took an evening class in painting that helped her connect with new ideas in art. Meanwhile, she worked at an advertising agency, gaining experience that would stand her in good stead years later when she needed to earn a living. At age twenty, she left for Manhattan, ignoring the pleas and threats of her mother.

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