Peer Gynt Symbols Analysis
This volume is one of the two exercises Rees completed in the midst of
a postdoctoral research participation in Nordic written work at the University
of Oslo in the region of 2009 and 2012. She formed it while moreover wearing
down the monograph Cabins in Modern Norwegian Literature: Negotiating Place and
Identity (Fairleigh Dickinson University Press, 2014). The books share Rees’
excitement for analyzing the social symbols that have contributed to the
improvement of Norwegian national character in the midst of headway. While
Cabins in Modern Norwegian Literature research how the saying of hotels and
other fleeting living arrangements work in a variety of literary sorts and
the film, Ibsen’s Peer Gynt and the Production of Meaning is given to contemporary
well known social affair of the play, considered Norway’s most basic legitimate
literary substance.
Rees battles that in light of the sheer number of changes, portions,
and parodies of Peer Gynt, no other literary work has had a more significant
place in the total imaginative vitality of the nation. Her goal, however, isn’t
to file divisions of Peer Gynt, but rather to separate how the play has been
used as a gadget to make new ramifications [End Page 220] in the advancing
advancement of Norwegian identity. According to Rees, “Peer Gynt is
impelled with no attempt at being subtle talk as a gadget for understanding the
current condition, as a touchstone for attesting social identity, or even a
sort of prophetic code” (p. 9). Rees tosses her eye comprehensively,
assessing attempts by Norwegian makers, entertaining toon skilled workers,
theater and motion picture administrators, and business visionaries to make
sense of the Gyntian code of being Norwegian in the season of globalization and
electronic advancements.
In the chief part, Rees offers a postmodern scrutinizing of Henrik
Ibsen’s play inside the arrangement of French philosophical thought, as
addressed by Gilles Deleuze, Félix Guattari, and Michel de Certeau. By applying
the Deleuzian thought of rhizome to the course of action of subjectivity, Rees
insists that Peer Gynt as a character is continually forming and changing all
through the play; he works outside the Cartesian and Hegelian model of the settled
subject. Rees battles support that the character and in addition the structure
and tongue of the play challenge a totalizing talk. Rees shows the indistinct
and against different leveled nature of the substance by exhibiting the
articulation “turning,” which should be grasped both physically
(Peer’s turning and energetic