title: Henrik Ibsen’s Catilina and poetics of romantic drama
metadata.name: dc.contributor.author
metadata.value: Yuriev, Andrey
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-08-07T09:08:38Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-08-07T09:08:38Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2018-06
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Andrey Yuriev. Henrik Ibsen’s Catilina and poetics of romantic drama. Scandinavian Philology, 2018, vol. 16, issue 1, pp. 149–168.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu21.2018.111
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/14687
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article deals with the links of Ibsen’s first drama with Romantic poetics. The
  play is interesting in that what it slightly foreshadows and which tradition it inherits.
  The path to The Vikings at Helgeland (1857), Ibsen’s first masterpiece in a genre which
  the playwright determined as a historical tragedy, began with the Catilina (1850). The
  semantic core of the work is not a socio-political conflict relating to the 1st century BC
  and capable of causing certain topical allusions, but an internal drama experienced by
  the “demonic” hero of Romanticism. The author emphasizes Kierkegaardian echoes
  in Catilina, referring to Either/Or (1843) which was familiar to Ibsen in his Grimstad
  years as one of his friends of youth witnessed later. The motives of disappointment in
  history and unbelief in the universal update, typical of late Romanticists, seem rather
  simplistic and somewhat naïve in young Ibsen. But even taking into account artistic
  immaturity of the playwright’s firstborn drama, it must be noted that because of the
  Romantic influence there is an archetype of a historical character in Catilina, which
  will develop later into much more complex images of Jarl Skule and Caesar Julian. At
  the same time the play, despite its imperfection, anticipates main themes in Ibsen’s later
  works, particularly John Gabriel Borkman (1896).
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Scandinavian Philology;Volume 16; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Norwegian Literature
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Ibsen
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Catilina
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: poetics of Romantic drama
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: a theme of Romantic doubles
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Kierkegaard
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Either/Or
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Don Juan
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Henrik Ibsen’s Catilina and poetics of romantic drama
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 11-Yuriev.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/14687/1/11-Yuriev.pdf
resources.format: Adobe PDF
resources.size: 714,31 kB