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Unformatted text preview: 11-21-10 Peer Gynt Act IV Orientalism is a term used for the depiction of eastern cultures by the West writers, designers and artists. (101, 102) Peer Gynt again expresses his want for recognition and identity. He boasts that he’ll become the emperor, and “A name in every country known—Sir Peter Gynt from heel to crown.” Peer’s want to become emperor hasn’t changed since the beginning —what makes him keep on going? (106) Again, Gynt is ridiculed, and looked down by his peers, by his selfish motives of gaining money and power. Here, he is not depicted in a positive light—why does Ibsen characterize him this way, and will his character change that will make him see more of the “reality”? (108) Ibsen makes fun of Christian ideals when Gynt, portrayed as a fool for being selfish, asks God to listen to his prayer. However, he says, “damned if he’s listening! Deaf! That’s his style. What a mess! A God unable to answer prayers.” Ibsen seems to belittle Christian thoughts and beliefs. (116-8) Orientalism is shown in scene six, depicting Arabians, opals, turbans, and dancers. They believe Gynt is the Prophet. Are the Arabians depicted positively or negatively? (140) Begriffenfeldt mentions that Absolute Reason died to Peer. Is this a satirical attack on poor rationalism in people? At the end of Act 4, Gynt becomes a historian in Egypt. He mentions that he has dreamt of becoming an emperor. Stuck in a madhouse where all the patients live in their own world, Gynt becomes an emperor, “Keeper of all fools”. The “Keeper of all fools” can be regarded as God, where God takes care of fools, where the fools are our society. This is partially a satirical attack on our society, where we are all fools. Ibsen may also be hinting at making fun of us for believing that there is such a God. ...
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- Spring '11