Ibsen importieren. Das deutsche Modell in der rumänischen Peripherie

Abstract

The present contribution discusses the way in which the Norwegian playwright Henrik Ibsen was imported, critically discussed, and staged in Romania in the late nineteenth and early twentieth century and argues that his influence in the Romanian periphery owes to the existence of a German model shaping cultural practices. His self-imposed European exile, most of which was spent in Germany, as well as the increasing exhaustion with the overbearing French influence, made his import partly attributable to his socially critic, yet not naturalist inflections, as the latter would find but difficult entry in Romanian literary circles. Rejected by German naturalist critics as being too liberal and taken with a generous grain of salt by bourgeois sensibilities, his entrance in the Romanian cultural sphere is the result of the two cultural models disputing their territory