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 (ĭb′sən, ĭp′-), Henrik Johan 1828-1906.
Norwegian playwright noted for symbolic verse dramas such as Peer Gynt (1867) and for realist plays such as A Doll's House (1879) and Hedda Gabler (1890).

Ib·sen′i·an (-sē′nē-ən, -sĕn′ē-) adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.
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Adj.1.Ibsenian - of or relating to or in the manner of the playwright Henrik Ibsen
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References in periodicals archive ?
Within the canvas of a love story in the form of an Ibsenian triangle, the perceptions of life, tragedy, realism, romantic reverie and, sometimes, paradox are intertwined.
The influence and the admiration of Joyce for Scandinavian literature, and particularly for Henrik Ibsen is well known, indeed the Irish author constantly honors the Norwegian dramatist, for instance with his Ibsenian play Exile.
Apparently, Murphy's Ibsenian approach to Irish life as being leeched by emigration found great disfavor among the Abbey's conservative management.
Azher Suleiman focuses on Ibsenian shades on the Shavian art.
In his "Thoughts on Henrik Ibsen," Lukacs conjoins the "impossible" with the character's life at the end point: "The Ibsenian hero pursues the impossible.
Tereza Menezes describes a highly acclaimed and influential 1971 Brazilian production critical of an increasingly oppressive military regime, while Catherine Naugrette (drawing on Hans Jauss's theories) describes a 1981 French production which similarly produced an 'aesthetic shock' that demolished the audience's 'horizons of expectations,' setting up an 'aesthetic gap' that needed to be closed in this case, according to the author, initiating 'a new era of Ibsenian theatre and its reception' (p.
Whereas the passage through a pig existence in the Chinese version reflects the thinking around the transmigration of souls, the Ibsenian version ascribes to the pig existence a symbolic quality with clear references to sexual urges and the loss of human control.
This leap from Ibsenian original sin to liberal pluralism is less a cogent theoretical connection than a formulaic leap from text to politics, which does not bestow any significantly new insights.
In both Ibsenian and Shavian drama, the audience is drawn into a discussion; problems of conduct and character are raised, and conflicts of unsettled ideals are dramatized.