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- W2489598887 abstract "Play and disrecognising are not merely forms of modernist rupture. Their continuity with earlier structures of feeling is equally vital. Here we can trace their emergence out of the dominant structures of liberal tragedy Williams has analysed from Ibsen onwards.1 These can be seen as complex structures of guilt and imprisonment, where a conscience-stricken hero succumbs as victim to a constraining environment. Williams notes that the naturalist trap of the three-walled room has its origins in romantic melodrama, in the imprisonment placed upon the romantic hero he must cast aside in order to escape and triumph. On Ibsen’s stage such romantic possibilities of triumph are remote. Confinement is usually unending and intolerable. But in addition to that Ibsenist confinement which entices our sympathy are forms of strangeness which puzzle us, a sense of place which is off-centre or peripheral and can make us lose our cultural bearings. We can note the abyss of nature to be found in Little Eyolf and John Gabriel Borkman, or Ibsen’s mocking references to the demonic trolls of folk legend. There is the strange attic sheltering the wounded pet in The Wild Duck, or the harsh ‘nobility’ of lineage claimed by John Rosmer and Hedda Gabler. All these confound our idea of naturalism as ‘natural’ happening, as the faithful reproduction of the normal event. Instead they subvert emphaty through their strange and estranged socio-spatial forms. Ibsen is never natural. He is a constant culture-shock." @default.
- W2489598887 created "2016-08-23" @default.
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- W2489598887 date "1991-01-01" @default.
- W2489598887 modified "2023-09-26" @default.
- W2489598887 title "The Resistance of Commodities" @default.
- W2489598887 doi "https://doi.org/10.1007/978-1-349-21562-1_3" @default.
- W2489598887 hasPublicationYear "1991" @default.
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