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By Henrik Ibsen مینو مشیری | Comments: ( 509 ) | Date: ( Dec 07, 2019 )

Hedda Gabler, the daughter of a deceased General, marries dull George Tesman and foresees a life of middle class tedium stretching ahead when they return from their honeymoon Increasingly, she is drawn into the clutches of her admirer, Judge Brack, who seeks to establish a m nage trois Then the brilliant but dissolute Eilert Lovborg, a former flame, arrives to rival heHedda Gabler, the daughter of a deceased General, marries dull George Tesman and foresees a life of middle class tedium stretching ahead when they return from their honeymoon Increasingly, she is drawn into the clutches of her admirer, Judge Brack, who seeks to establish a m nage trois Then the brilliant but dissolute Eilert Lovborg, a former flame, arrives to rival her husband for an academic post.

  • Title: هِدا گابلِر
  • Author: Henrik Ibsen مینو مشیری
  • ISBN: null
  • Page: 468
  • Format: Hardcover

About Author:

Henrik Ibsen مینو مشیری

Henrik Johan Ibsen was a major Norwegian playwright largely responsible for the rise of modern realistic drama He is often referred to as the father of modern drama Ibsen is held to be the greatest of Norwegian authors and one of the most important playwrights of all time, celebrated as a national symbol by Norwegians.His plays were considered scandalous to many of his era, when Victorian values of family life and propriety largely held sway in Europe and any challenge to them was considered immoral and outrageous Ibsen s work examined the realities that lay behind many facades, possessing a revelatory nature that was disquieting to many contemporaries.Ibsen largely founded the modern stage by introducing a critical eye and free inquiry into the conditions of life and issues of morality Victorian era plays were expected to be moral dramas with noble protagonists pitted against darker forces every drama was expected to result in a morally appropriate conclusion, meaning that goodness was to bring happiness, and immorality pain Ibsen challenged this notion and the beliefs of his times and shattered the illusions of his audiences.

Comments هِدا گابلِر

  • Kalliope

    What is in a text, what was written, what we read, or, in the case of plays, what is acted out?Continuing my theatre season, I attended a performance of Hedda Gabler, but read the text before hand, and listened in parallel to an excellent dramatized version .I had watched another performance during my university days, and my memories of the work seem to be centered on the rights of women. To find their own place in their society and to find and exert their own volition in their lives aI recalled [...]

  • Mariel

    I want for once in my life to have power to mould a human destiny.People are in other rooms, people sitting on sofas and people behind desks. Voices from other rooms and voices carry. People have their destinies as their children in hearts cold ashen wombs worth nothing until it thrown away. I don't want to call it human. I don't see arms and legs and feet.I felt the tragedy of the loss of Hedda Gabler's life to her own colorless lightning when the speed stopped. Big eyes in a head and I don't k [...]

  • Sidharth Vardhan

    Ibsen's plays are full of characters unhappy with the life they are socially expected to live and feel a wish to break away from it. A Doll's House is about a woman that chose to break away from such a life upon being disillusioned about it while Ghosts is about a woman who regrets missing the opportunity when she had a chance. Here, we have a woman who is tempted to break away from socially expected life but is afraid of scandel. There is thus this frustration which doesn't leave her much to fi [...]

  • Sophie VERStand

    Ibsens bösartig-melancholische Frauenfiguren sind einfach herrlich. (: Die Dialoge seiner Dramen sind so spitz und voller Hinterhältigkeiten - sehr lesenswert. Zudem ein großartiges Portrait des bürgerlichen Lebens 1890 in Norwegen.

  • Chris_P

    What a character, Hedda Gabler! A woman who could be called evil but in fact a woman in desperate need for something extraordinary even if it is in death. Blasphemous in a way, she cares less about the outcome than what leads to it. In short, one of the most powerful, interesting and well-crafted characters in literature. Four stars dedicated to her. Otherwise, the story is good but far from perfect.

  • Ken Moten

    You know when you meet someone for the first time, but they feel like in old acquaintance because both of you share a mutual friend or relation? In my case the "someone" is Henrik Ibsen and mutual friend is Søren Kierkegaard. Ibsen is often called the "Father of Realism" (one of my favorite genres) and Kierkegaard is often called the "Father of existentialism" (my favorite school of philosophy). This guy was tailor-made for me. This is a tough, but entertaining play as far as I am concerned. Th [...]

  • Mya

    I really didn't like itI thought hedda was a bitch and got was she deserve. I guess I can understand the desire for freedom.

  • نقد روز

    در سراسر نمایشنامه هدا گابلر، شخصیت هدا ادعا می کند که دنبال یک «شجاعت خودجوش می گردد. عملی که دارای یک زیبایی بی قید و شرط باشد.» هنریک ایبسن به صورت غیرمستقیم به مخاطب اعلام می کند که شجاعت و زیبایی جزو مضامین اصلی نمایشنامه هستند. شجاعت چیست؟ چه کسی صاحب آن است؟ زیبایی چیست؟ [...]

  • Annie

    Hedda fucks shit up. She's an egomaniac who feeds off the attention and needs of others, then leaves them carelessly aside when they have served their purpose to her. Re-animating their disposed-of corpses when she realizes they might be of use again, when she realizes she may have been short-sighted when she threw them out like tissues. I am perhaps too harsh on Hedda. If so, it's because Hedda is me, and I have no choice but to understand her in her most despicable light if I am to be rationa [...]

  • Amy Catherine

    Dark, intriguing, and really, really good. This work of Ibsen's strips his characters of anything spiritual and focuses intently on the society in which they find themselves in, and boy, the nineteenth-century was strictand super dull. Hedda is trapped in an era that she is too modern for - she's stuck in an unhappy marriage simply to keep the middle class lifestyle that a woman in that time wouldn't have been able to uphold on her own. She wants to be independent and free but society holds up a [...]

  • Amy

    “Good god, people don't do such things!” ― Henrik Ibsen, Hedda GablerSuch a good story:)

  • Bruce

    Harold Bloom has called this play Shakespearean in scope and character, and I think he is correct. The central enigma is Hedda herself, a character of erotic self-destructiveness, fascinating and frightening simultaneously. Is she the embodiment of pure and inexplicable evil, as Iago would seem to be, or is she a victim of her time and culture, a woman of profound aspirations and ability trapped in a constricted and unimaginative marriage and role from which she tries desperately to escape? Her [...]

  • Lavinia

    Dark is probably not the adjective to describe it. I've seen it mentioned in one of the descriptions. Nor is Hedda evil. But the drama definitely holds a certain coldness to it (the same coldness one meets in Bergman's films, I'm tempted to say) and I cannot admit I understand Hedda entirely; she starts as a master of puppets, seems mischievous and always plotting but ends up alone and misunderstood. And makes you think she was alone and misunderstood all along.I'm definitely looking forward to [...]

  • Jonfaith

    I can see him. With vineleaves in his hair. Flushed and confident.I have intended on reading Ibsen my entire adult life. Thinking that perhaps my number may be up, I finally ventured and am glad I did. This play was surprisingly modern and kinetic. Not sure why, but I expected something dour, suffering in the shadows. Violence through understatement. A Scandinavian skewering of morals.Mismatched couples are such fun--from Middlemarch to The Honeymooners. I'd like to read responses to the charact [...]

  • Arman Mohammadi yazdi

    نخستین اثری بود که از ایبسن خواندم. در حین مطالعه بارها به خود گوشزد کردم که حتما تمام آثار ایبسن را هم به فارسی و هم به انگلیسی بخوانم. بعد روانشناسانه‌ی شخصیت‌ها (شاید تمام شخصیت‌هایی که حضور داشتند) ـ‌به ویژه شخصیت اصلی، هدا گابلر‌ـ عمیقاً لذت‌بخش بود و ایجاز و سادگی متن [...]

  • Josh

    I suppose in the long run, I prefer Hedda Gabler to Doll's House, if only because Hedda is such an amazing protagonist to watch when you think of the social context of the play being performed in 1890. Today, she seems like a cold, heartless bitch. And even back then, people may have thought that. But she also bucks the trend of the "well made play," by becoming an anti-hero of sorts. And really, who is the one to follow in this play in the first place? George? Eilert? Mrs Elvsted? No one seems [...]

  • Mara Shaw

    Ibsen captured the horror of the limited options available to women of propriety in 1890 with violence and virtuosity. It is irrelevant whether you like Hedda or not. She was not cut out to live within the straight jacket of society. None of the available options -- and Ibsen brilliantly explores them all (marriage, affair, manipulation of men) -- were a hell to her. This play shook the world of "women's" lit long before women could vote. Originally performed only for women, it surprised the the [...]

  • Antje

    Endlich ist die Protagonistin eines Ibsen-Dramas ein bösartiges Frauenzimmer! Ich glaube, noch nie ein Stück mit derart großen Genuss verschlungen zu haben, in dem ich keine der Hauptfiguren mochte. Aber Ibsen lässt sie glaubwürdig vor dem geistigen Auge des Lesers entstehen und entspinnt eine Handlung von ungeheuerlicher Dramaturgie, die mich einfach nur begeisterte. Es blieb mir unmöglich, das Heftchen aus der Hand zu legen, nachdem im Zweiten Akt zahlreiche Überraschungsmomente und Spa [...]

  • Bettie☯

    Bettie's BooksIngrid Bergman film

  • Amirsaman

    هِدا گابلر می‌خواهد خدا باشد، سرنوشت انسان‌ها را در دست بگیرد، و بیزار است از بنده بودن.این است که با هوش و درایت، آدم‌ها را بازی می‌دهد، می‌کشد و زنده می‌کند، و وقتی خودش توسط وکیل براک تبدیل به بنده می‌شود، مرگ را ترجیح می‌دهد.هدا حوصله‌اش سر رفته، هدفی در زندگی ندارد. ب [...]

  • Zahra

    - "I often think there is only one thing in the world I have any turn for.” - “And what is that, if I may ask?" - "Boring myself to death."

  • Beth

    This is undoubtedly a play to be performed if one ever existed. Hedda is a brilliant female character - Lady Macbeth meets Betty Draper. She must be applauded as a female character who is not a hero or a villain, not a bitch or a crone, but a cruel, neurotic, charismatic presence. I was surprised by the almost feminism of Ibsen's play, how he manages to serve Hedda so well, with fantastic dry wit - the subtlety of the scene between her and Judge Brack would be spine-chilling on stage - and glori [...]

  • Catherine ♡

    (Read for school.)I actually really liked this play! It was interesting to see the power dynamic between Hedda and George - it says a lot about the type of society they lived in. And Hedda was definitely a very unique character.

  • Michelle

    I was supposed to read this book a long time ago in undergrad. I finally got around to it. I'm sure it has some deep symbolic meaning attached to it, but here are my conclusions. Hedda was a horrible person. I didn't think I was supposed to feel sympathy for her until the end, but even then.

  • Kristina Herondale

    I rather enjoyed this play - classics that masterfully evolves around dialogue.This is truly dramatic and depressing story that unravels around the sophisticated and lost character of Hedda.

  • Lizzie

    Read via DailyLit in 47 parts. (Edmund Gosse and William Archer translation.) I read this in college in a very bad class, and I was curious about NYC's new revival so it was time for a reread. Thank goodness! I only remembered what happens at the end, and not at all why.This read was much more thought-provoking. And somehow, though it is key, I didn't recall the theme of Hedda's pregnancy at all. (It was a really bad class.) And that's not a spoiled revelation; though she only (barely) admits it [...]

  • Carol

    Hedda Gabler is truly an intelligent, unpredictable, self-centered, manipulating woman. She enjoys the luxurious lifestyle and has found some poor sap, Jurgen Tesman, to marry her. The play begins with their arrival home from their 6 month honeymoon. Tesman's aunt Julie, arrives at their home to meet the newlyweds with a gift of slippers for Tesman from his sickly aunt Rina. It appears that Hedda's clothing is loose fitting and she seems to be "showing" (pregnant). Hedda insults both her husband [...]

  • Jo

    An interesting look at how a society based on reputation functions. The last line of the play (Good God! People don't do such things) is really reinforcing that concept that one's reputation is more important than one's character. Hedda is not a likeable character. She is manipulative and has a mean streak. Her desire to create the best life for herself leads her to make decisions which seem cold blooded. However, the society where she finds herself doesn't give her too many options. Her sex lim [...]

  • Laura

    From BBC Radio 4 - Saturday Drama:Brian Friel's version of Hedda Gabler throws new light on its two female archetypes - Hedda, the beautiful trapped and doomed heroine; and Thea, the less socially admired, yet much freer, new woman. Both women ultimately take their fate into their own hands, in very different ways.

  • BrokenTune

    Why, oh why, do I get the impression that Ibsen didn't like his female protagonists very much?Or, in other words, is there a specific reason that both Nora (from A Doll's House) and Hedda are written as two rather silly women, both incapable of a rational thought?Surely, exploring the theme of individuals trapped in situation which they want to escape from has more to offer than half-baked schemes, lies, deception, and artistic illusions?Ugh

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    Posted by:Henrik Ibsen مینو مشیری
    Published :2019-09-18T05:08:04+00:00