Nietzschean Variations: Politics, Interest, and Education in Ibsen's An Enemy of the People
Henrik Ibsen’s An Enemy of the People (1882) has had an unusual reception. Following A Doll’s House (1879) andGhosts (1881), plays that were scandalized upon performance only to be counted, relatively soon, among Ibsen’s most important works, An Enemy of the Peoplewas caught up by history in a different way. While the play has, no doubt, enjoyed bouts of popularity – including the many stagings that followed in thewake of its publication – late twentieth-centurycritics have worried about the political implications of Dr. Stockmann’s elitism and sometimes even compared it to the rhetoric of the later Nationalist Socialistmovement inGermany (Sage 2006, 3–5, 310–311; Ferguson 1996, 280ff ). The kind of elitist sentiments Dr. Stockmann airs inAn Enemy of the People are often associated with the teaching of Friedrich Nietzsche. Nietzsche’s work was much debated and discussed in Scandinavia when Ibsen was working on the play. Thus, critics have emphasized how Ibsen’s play resonates with a kind of aristocratic pathos that is not unlike the onewe find inwork of theGerman philosopher.While such a reading was prefigured in an essay by Anathon Aall at the beginning of the Twentieth Century, we findmore recent versions of the argument in works by Noreng (1969), de Figueiredo (2007) and Kittang (2005). In his reading ofAn Enemy of the People, Kittang speaks Ibsen Studies, 2014 Vol. 14, No. 2, 109–135, http://dx.doi.org/10.1080/15021866.2014.1000659
A liberal stand-off with deplorables: Adapting Ibsen’s An Enemy of the People from Nietzscheanism through Nazism to Neoliberalism
A pivotal question since the Enlightenment has been how to promote reason to the masses. Henrik Ibsen’s An Enemy of the People and its film adaptations across four countries and seven decades let us examine this discourse across time and geography. Ibsen offers Nietzschean, elitist radicalism to save the public sphere from ignorance. Ein Volksfeind (dir. Hans Steinhoff) insists that only the Nazi Party can straighten out the confused masses. A 1978 version from a screenplay by Arthur Miller (dir. George Schaefer) makes Steve McQueen a hero-martyr for grassroots democracy, while Ganashatru (dir. Satyajit Ray) challenges Eurocentric logocentricity through ‘empathetic humanism’. Norwegian En folkefiende (dir. Erik Skjoldbjærg) declares that in the neoliberal era, people’s resistance to reason threatens our species’ very survival. Such despondency informs today’s populism and democratic apathy, suggesting that humanistic beliefs may have played themselves out and that a new master-narrative could be required to break our twenty-first-century stand-off. As voters are labelled ‘deplorables’ and journalists ‘enemies of the people’, Ibsen’s play has also experienced a renaissance.
Design of Fixture for Pitch Circle Diameter Run-out Check
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