Ibsenova Nora in njeni odmevi v slovenski dramatiki : diplomsko delo

Kovačević, Ajla (avtor), Troha, Gašper (mentor)

V svoji diplomski nalogi sem se ukvarjala z vplivom Hiše lutk ali Nore Henrika Ibsena na Školjko Lojza Kraigherja, Magdo Alojzija Remca in Noro Noro Evalda Flisarja. Ibsenovo Noro sem primerjala z vsako od dram in iskala podobnosti in razlike med njimi. Predvsem sem se osredotočila na ženske like in poskušala ugotoviti, kaj je bil njihov cilj in ali je bil le ta dosežen. Analiza in primerjava del sta pokazali, da je Ibsenov vpliv Nore prisoten pri Kraigherjevi Školjki in Flisarjevi Nori Nori, medtem ko vpliva pri Remčevi Magdi ni.Školjka in Nora imata namreč številne podobnosti, ampak sta kljub temu po svojem konfliktu in idejnem sporočilu oblikovani precej različno, čemur je vzrok slovenski dramski realizem, ki se je cepil na romantične in postromantične prvine, ki v Školjki pridejo do izraza pri hrepenenju po visoki ljubezni, medtem ko Nora to premosti in seže k uveljavljanju posameznika.Flisar, kot sodobni pisec je svojo dramo zasnoval precej drugače, vendar si z Ibsenom delita podobno idejo. Kljub temu da je minilo 125 let, kljub emancipaciji žensk, zopet dobimo nesrečnega posameznika in posledično nesrečen zakon oziroma zvezo dveh oseb. Pri Magdi pa vpliva ne prepoznamo. Res je, da sta obe drami zelo osredotočeni na ženski lik, ki hrepeni in trpi, a je podobnosti zelo malo, če pa so, so naključne. Nora je na koncu stabilna osebnost, ki se zave, da je prišel njen čas, da se zoperstavi in si končno da priložnost, da si sama zgradi svoj osebni jaz, ki ne bo pod vplivom njenega očeta ali moža. Magda pa je popolno nasprotje stabilne osebnosti. Iz scene v sceno bolj tone in vse bolj izgublja lastni jaz. Njen edini cilj je poroka in otroci, torej, za razliko od Nore, Magda obtiči v tradicionalni vlogi ženske, ki je le mati in žena.

• Jezik: Slovenski jezik
• Ključne besede: slovenska dramatika, literarni vplivi, norveška dramatika, ženske, ženski liki, diplomsko delo
• Vrsta gradiva: Diplomsko delo/naloga
• Tipologija: 2.11 - Diplomsko delo
• Organizacija: FF - Filozofska fakulteta
• Kraj izida: Ljubljana
• Založnik: [A. Kovačević]
• Leto izida: 2016
• Št. strani: 50 str.
• PID: 20.500.12556/RUL-104522
• UDK: 821.163.6.09-2:821.113.5.09Ibsen H.
• COBISS.SI-ID: 61034850
• Datum objave v RUL: 08.10.2018

Sekundarni jezik

• Jezik: Angleški jezik

Izvleček

This thesis is concerned with the influence of A Doll's House or Nora by Henrik Ibsen on the following Slovenian drama texts: Školjka (Shell) by Lojz Kraigher, Magda by Alojzij Remec and Nora Nora by Evald Flisar. The thesis compares Ibsen's Nora with each of the individual dramas, searching for similarities and dissimilarities between the works. The main focus of the thesis is on the female characters, their aims, and the question as to whether the characters have achieved their aims. The analysis and comparison of the texts revealed that Kraigher's Školjka (Shell) and Flisar's Nora Nora clearly show the influence of Ibsen's Nora, while Remec's Magda does not. Although Školjka and Nora exhibit numerous similarities, they are quite different in regard to their conflict and main idea. This may be attributed to the specific type of realism in Slovenian drama, which is characterised by romantic and post-romantic attributes, which are evident in Školjka through the yearning of a profound love, while Nora overcomes this conflict by reaching for the self-actualization of an individual. As a contemporary writer, Flisar designed his drama Nora Nora quite differently, but still shares an idea similar to that of Ibsen. Even though 125 years have passed and women's emancipation movements have made significant progress, we are again confronted with an unhappy individual and, consequently, an unhappy marriage (or unhappy union of two persons). There is no visible influence of Ibsen's Nora in Magda. Both the dramas are very much focused on the female character's yearning and suffering, but similarities are few and far between and seem to be mostly coincidental. Nora is, at the end of the play, a stable personality who realises that this is the time for resistance, her chance to build her own personal identity, uninfluenced by her father or husband. Magda, however, is far from being a stable personality. She falls deeper and deeper with each scene and keeps losing her own sense of selfhood. Her only aim is marriage so, unlike Nora, she is trapped in the traditional role of the woman - merely a mother and a wife.