Relevant bibliographies by topics / Peer Gynt (Fictitious character)

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Academic literature on the topic 'Peer Gynt (Fictitious character)'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Peer Gynt (Fictitious character)"

1

Siu-Han Yip, Terry. "Cultural Assimilation: Two Ibsenian Women in Traditional Chinese Yue Opera." Interlitteraria 21, no. 2 (2017): 275. http://dx.doi.org/10.12697/il.2016.21.2.9.

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Chinese interest in Henrik Ibsen’s plays has flourished for more than a century and many of his plays have been performed on or adapted for the Chinese stage since the early twentieth century. However, attempts to adapt his plays for the traditional Chinese theatre were only made in the past decade with Peer Gynt adapted into Peking opera in 2006, The Lady from the Sea and Hedda Gabler into Yue opera in 2006 and 2010. A close study of the re presentation of two Ibsenian women characters, namely, Ellida Wangel and Hedda Gabler on the Chinese traditional Yue operatic stage during Ibsen’s centena
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Nolan, Huw, Jenny Wise, and Lesley McLean. "The Clothes Maketh the Cult." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2971.

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Introduction Many people interpret the word ‘cult’ through specific connotations, including, but not limited to, a community of like-minded people on the edge of civilization, often led by a charismatic leader, with beliefs that are ‘other’ to societal ‘norms’. Cults are often perceived as deviant, regularly incorporating elements of crime, especially physical and sexual violence. The adoption by some cults of a special uniform or dress code has been readily picked up by popular culture and has become a key ‘defining’ characteristic of the nature of a cult. In this article, we use the semiotic
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Books on the topic "Peer Gynt (Fictitious character)"

1

Ibsen, Henrik. Peer Gynt. Theatre Communications Group, 1992.

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Hwang, David Henry. Peer Gynt: A drama. Playscripts, 2006.

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Mørkhagen, Sverre. Peer Gynt: Historie, sagn og "forbandet Digt". Cappelen, 1997.

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4

Ibsen, Henrik. Peer Gynt: A dramatic poem. Harrap, 1985.

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Ibsen, Henrik. Peer Gynt: A dramatic poem. Oxford University Press, 2009.

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Pollan, Brita. Peer Gynt og Carl Gustav Jung: Med sjelen som følgesvenn. Aschehoug, 1998.

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Ibsen, Henrik. Henrik Ibsen's Peer Gynt: A new version by Frank McGuinness from a literal translation by Anne Bamborough. Faber and Faber, 1990.

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Farmer, Philip José. The Peerless Peer (Further Adventures of Sherlock Holmes). Titan Books, 2011.

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Suben, Eric. Disney's Tarzan: Terk's tale. Golden Books, 1999.

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Gownley, Jimmy. The tweenage guide to not being unpopular. Atheneum Books for Young Readers, 2010.

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Book chapters on the topic "Peer Gynt (Fictitious character)"

1

Gjesdal, Kristin. "History Adrift; Subjectivity Probed (Peer Gynt)." In The Drama of History. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190070762.003.0003.

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Throughout the 1860s, we see a transition in Scandinavia from Sturm und Drang to Hegelianism. This transition is at the heart of Chapter 2, which discusses Hegel’s theory of art, his understanding of selfhood, and the reception of his work in Scandinavia. Ibsen relates to this reception. This is particularly clear in Peer Gynt, a play that features a character with the Hegelian name Herr Begriffenfeldt. Through his portrait of the charming, yet thoroughly self-centered Peer Gynt, Ibsen, with humor and irony, draws on, but also goes beyond Hegelian theory, especially his commitment to the notio
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