Ibsen's Influence on Eugene O'Neill's Family Tragedy/INFLUENCE D' IBSEN SUR LA TRAGEDIE FAMILIALE D'EUGENE O'NEILL
Bibliographic record
Abstract
Abstract: In his career of literary creation, Eugene O'Neill has been widely influenced by Ibsen and Strainburg. The former has influenced his subject matter and theme, and the latter has influenced his colorful style. Ibsen's has special influence on O'Neill and leads to his own family tragedy plays. Focusing on the tragic family life of ordinary people and concerning over women's role in family life have also become the focus of O'Neill's writings. Key words: Ibsen, Eugene O'Neill, family tragedy Resume: Dans sa carriere de la creation litteraire, Eugene O'Neill etait largement influence par Ibsen et Strainburg. Le precedent influencait son sujet et son theme, et le dernier influencait son style diversie. Le probleme dramatique d'Ibsen a une influence speciale sur O'Neill et entraine aussi sa propre tragedie familiale. Concentration sur la vie tragedique familiale des personnes ordinarires et ce qui concerne le role des femmes dans la vie familiale devenaient aussi le centre des oeuvres d'O'Neill. Mots cles: Ibsen, Eugene O'Neill, Tragedie Familiale 1. INTRODUCTION When the world entered the 20th century, the American theater was still about a desert and very much lagged behind that of the European continent. In 1900 or thereabouts, there was little indication that the United States would make important contributions to World Theater. It was Eugene O'Neill who broke the still of the American Theater, brought the beginning of a remarkable era in the American Theater. O'Neill started writing most of his plays after the First World War, which was a period of chaos and general world-weariness and bewilderment in the history of America. Having witnessed the disaster brought by the war, people no longer lived in their rosy dream of pastoral world. The spiritual support collapsed down. Reason was doubted. Traditional concepts of value were overthrown. The two main themes of Renaissance were challenged. Love could not conquer all, the universe no longer sang in harmony. Science and material richness did not bring people into the paradise of the American dream. The American people, especially the American intellectuals were experiencing a complete disillusionment. As a serious playwright, O'Neill had to face all these problems and went into the depth of them to find out the source root of the spiritual tragedies of modern men. Just at this moment, Ibsen was introduced to America. Ibsen's problem drama found its echo in American authence. O'Neill began to read Ibsen carefully. In his autobiographical play Long Day's Journey into Night, we can find on his bookshelf the plays written by Iben. As a pioneer of modern American drama, O'Neill also held that should be used as a tool to raise social problems. In almost all his plays, O'Neill focuses on various aspects of modern American society and the dark sides of human nature. Among them, family tragedy occupies an important position. Marriage problems cause family tragedy, this becomes the main topic in O'Neill's writings, just as it first appeared in Iben's A Doll's House. 2. FOCUSING ON THE TRAGIC FAMILY LIFE OF ORDINARY PEOPLE When Ibsen began to make plays, he made his situation very ordinary. He believed that the more familiar the situation was, the more interesting the play would be, which was quite on the contrary to the traditional belief that the stranger the situation, the better the play. This started a revolution in play making and brought the stage much closer to ordinary people's life. Just as George Bernard Shaw said: Shakespeare had put ourselves on the stage but not our situations. Our uncles seldom murder our fathers, and can not legally marry our mothers; we do not meet witches; our kings are not as a rule stabbed and succeeded by their stabbers; and when we raise money by bills we do not promise to pay pounds of our flesh. Ibsen supplies the want left by Shakespeare. He gives us not only ourselves, but ourselves in our situations. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.004 | 0.003 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".