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Hedda Gabler (Anglais) Relié – 18 août 2008

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--Ce texte fait référence à l'édition Broché.
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Présentation de l'éditeur

Webster's paperbacks take advantage of the fact that classics are frequently assigned readings in English courses. By using a running English-to-Arabic thesaurus at the bottom of each page, this edition of Hedda Gabler by Henrik Ibsen was edited for three audiences. The first includes Arabic-speaking students enrolled in an English Language Program (ELP), an English as a Foreign Language (EFL) program, an English as a Second Language Program (ESL), or in a TOEFL� or TOEIC� preparation program. The second audience includes English-speaking students enrolled in bilingual education programs or Arabic speakers enrolled in English-speaking schools. The third audience consists of students who are actively building their vocabularies in Arabic in order to take foreign service, translation certification, Advanced Placement� (AP�) or similar examinations. By using the Webster's Arabic Thesaurus Edition when assigned for an English course, the reader can enrich their vocabulary in anticipation of an examination in Arabic or English.<br>TOEFL�, TOEIC�, AP� and Advanced Placement� are trademarks of the Educational Testing Service which has neither reviewed nor endorsed this book. All rights reserved. --Ce texte fait référence à l'édition Broché .

Biographie de l'auteur

Henrik Ibsen (1828-1906) is the author of Ghosts, A Doll's House, Hedda Gabler, Brand, Peer Gynt and The Master Builder among many others.

Mark O'Rowe is an Irish playwright whose plays include Howie the Rookie (Bush Theatre, London, 1999), From Both Hips (Fishamble, 1997), Made in China (Abbey Theatre, Dublin, 2001), Crestfall (Gate Theatre, Dublin, 2003), Terminus (Abbey Theatre, 2007) and Our Few and Evil Days (Abbey Theatre, 2014). His screenplays include Broken (2012), based on the novel by Daniel Clay, Perrier's Bounty (2009), Boy A (2007), based on the novel by Jonathan Trigell, and Intermission (2004). --Ce texte fait référence à l'édition Broché .

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Format: Broché
Cette pièce d'Ibsen témoigne de la violence consubstantielle à l'inhumanité à travers la dépersonnalisation imposée par l'Ordre Dominant...Le tout intentionnel de la démarche vise à dénoncer la structure paranoïde sur laquelle s'appuie toute mise au pas...Hedda Gabler fut interdite en URSS et au Chili...
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Commentaires client les plus utiles sur (beta) 4.2 étoiles sur 5 91 commentaires
28 internautes sur 33 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The sweetest thing 4 février 2004
Par Alysson Oliveira - Publié sur
Format: Broché
It is not very likely that George Bernard Shaw knew he was writing the play that would become one of the seminal romantic comedies of the 20th when he penned `Pygmalion'. The play is delightful, with borrowed elements from many genres. There is comedy and romance, above all, but there is also a very clear social critic -- and even a Marxist idea of class struggle. What only enhances the reading of this masterpiece.
Professor Henry Higgins is a linguistic expert who is much more interested in how people say the words rather than what they say. He ends up taking a bet that he is able to transform a simple cockney flower seller, Eliza, into a sophisticated and refined young lady, who would be able to fool the Queen herself. To succeed in such a move he claims he will change only the way she speaks.
To work on Eliza he puts her up in his house and starts polishing her speech. This is not an easy job, because what the girl speaks is not English, but a language she has developed herself. After some time, the Professor decides to introduce her to a group of friends, without mentioning her backgrounds. At first the meeting is blast. Although Eliza can use a fine language it is clear she has not backgrounds to develop and keep up a conversation. And her behavior ends up being the laughing stock. But one of the guests notices how beautiful the girl is. Higgins feels sort of jealous and this could lead their relationship to another level.
Shaw's prose is funny and touching at the same time. He uses devices, like everybody speaking at the same time, which only enhances the fun of the play and brings more truth to the action. His characters are lively and well developed. His social critic is evident. Eliza doesn't want to be rich or sound as such, she only wants to get a better job in a flower store, in other words, she only wants to be what she is. But the Professor insists on making her another person, very different from what she really is. Eliza's presence is the sweetest thing in the play. She is a nice and good-hearted girl, who suffers the consequence of her surroundings.
The play is based on the Greek tragedy `Pygmalion and Galatea', and was the base for one of the most famous musicals of the cinema, `My Fair Lady'.
10 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Involving Glimpse Into Ibsen's Theater Of Pain 7 décembre 2008
Par Bill Slocum - Publié sur
Format: Broché
At the core of Henrik Ibsen's art lay a bottomless talent for investigating the way people hurt one another. But reading his "Four Major Plays" is not painful at all; rather, they are thrilling and even delightful for the different ways the playwright captures and sustains our interest.

"A Doll's House" (1879) the first play here, presents the story of Nora Helmer, a seemingly childlike housewife with a weakness for macaroons whose actual level of devotion to her husband and family is kept hidden until the threat of scandal exposes her to a surprisingly judgmental spouse.

Shocking in its day for questioning then-traditional domestic roles, "A Doll's House" makes its best points in its handling of Nora's character and an abrupt conclusion that still startles. If there are touches of excessive melodrama, and I think there are, they are more than compensated for by Ibsen's deft touch in drawing out the suffocating hypocrisy of social norms.

Even more of an attack on society, "Ghosts" (1881) is that much more melodramatic, too much so for my tastes. Incest, social disease, people living together out of wedlock - it's like Ibsen wanted to cram every shocking thing he could think of into one play, and finish it off with something more shocking still. Convoluted but never boring, "Ghosts" makes its points, dares you to judge, and leaves a mark.

What makes this book indispensible for lovers of good drama are the last two plays, each brilliant in a totally different way. "Hedda Gabler" (1890) is the tale of a woman's moral and mental meltdown told in four gripping acts. Title character Hedda is newly married, but full of spite for the settled life, seeking to cause misery wherever she can.

"Oh, you know how it is...these things just suddenly come over me," she explains to an oily confidant. "And then I can't resist them." You can't, either. Her twisted path causes much heartache and pain, and some surprising moments of humor for those basing their impression of Ibsen on the previous, more dour plays. Hedda's a terrifically dark, unsettling character, like Richard III in a petticoat.

Though it's hard to call anything better than "Hedda Gabler" for pure rotten fun, "The Master Builder" (1892) works even better at teasing out a rather convoluted concept, that of will to power, in an accessibly dramatic way. To risk another Shakespeare comparison, it's like a twisted take on "The Tempest". The title character, Halvard Solness, is tortured by the guilt of his success, and the sense his accomplishment has been sped along by "devils" both good and bad. Add to the equation a longtime admirer of Solness who dares him to challenge fate more boldly.

It's hard to imagine a story like this working in anyone else's hands, but Ibsen does it with masterful subterfuge, teasing out the main story in the form of a seeming subplot while the story which begins the play recedes into the background. Nothing goes the way you expect it, except perhaps the ending, which Ibsen manages to make feel like destiny. Even the characters are a complex group, Solness alternately megalomaniacal and sympathetic.

Ibsen's great reputation is fully justified in this deep, complex, yet surprisingly accessible volume.
10 internautes sur 10 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 They Should at Least Title it "MOSTLY Pygmalion"... 2 mars 2013
Par Deb Atherton - Publié sur
Format: Broché
How can a reputable bookseller sell a version of a classic book that leaves out some of the scenes and leaves out or changes some of the dialogue--including some KEY passages? The irony, of course, is that Shaw's will stipulates that Pygmalion is NEVER to be published with any changes whatsoever--down to the least significant British punctuation conventions! Imagine my horror when, having successfully encouraged most of my 12th grade students to order their own copy of the book, we opened to the first lesson on Shaw's Introduction, and half of it was missing. The rest of the book isn't that bad, but the little changes shifted the tone and reminded me how much we take for granted the literature that's been handed down to us. At least the description of the book should be very clear that liberties have been taken.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Hedda Gabler was a remarkable play ahead of its time! 20 mai 1999
Par Un client - Publié sur
Format: Cassette
Henrik Ibsen was truly the Father of Modern Drama! His plays are much more "in-tune" with today's life than many scholars want to believe or will admit. Hedda was a powerful woman, who on the surface appeared to be confined by a dress, imprisoned in man's house, and smothered by a male-dominated society. It would appear that Thea Elvstead was the woman with more control, but this is not true. Hedda was a calculating "bitch" who dared (quite shrewdly) to cross over her set in stone "boundaries," manipulate others, and stand back and watch others lives be destroyed as a result. But when she is backed into a corner by the "new" creative couple (George & Thea) and Judge Brack, she takes the final power into her own hand. How ironic that the power is her late father's pistol. How tragic is her death when it was the ultimate control of a destiny that she so strongly desired? Henrik, you were a true visonary!!!
12 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Hedda The Misunderstood 30 mars 2004
Par Angelique - Publié sur
Format: Relié
Aw Contrare my friends, Hedda was not bored, but trapped. A woman before her time, as most of Ibsen's female characters, unable to yield to the societal norms of the day. A strong, well educated woman existing in a time when permission to go out and about had to be asked of the dominant male of the house. The insurgence of the Industrial Revolution was taking place, the world was changing quickly, and with it old manors and chivalry was being extincted. These mores which Hedda had been raised to cling to were falling away for the world, but not for Hedda. They ran concourse to the blood in her veins.
Despite an inner strength of character and longing to dominate, inspire, and influence, she found herself torn between the new world and the way in which she was raised. Those values and their presence is signified by the silent character of her father, in the form of a picture that is continually refferred to.
When Hedda is overshadowed by Mrs. Elvstead in Lovborg's life she scrambles to make her mark, to have some influence. The nature of that inspiration is of no interest to her. As a madman who longs for fame and finds it in a violent act, Hedda does what she does for the power/influence in it, but not out of malice. Though we, the audience, may judge what her actions may have lead to, this is a moot avenue of perspective. It is "why" she does what she does that makes her such an intriguing character.
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