Week One: Introductory Session. Contrasting Visions.
Week Two: Opposing views of women. Ibsen's A Doll’s House and Ghosts and Strindberg’s Miss Julie.
David Thomas, 'Patterns of interaction in Ibsen's Ghosts,' in D. Haakansen (ed) Ibsenårbok 1976 (Oslo: Universitetsforlaget, 1976), 89-117. Read Article
Week Three: The problems of fatherhood. Ibsen’s The Wild Duck and Strindberg’s The Father.
Week Four: The struggle for psychological domination. Ibsen’s Rosmersholm and Strindberg’s Creditors and The Stronger.
Derek Russell Davis and David Thomas, 'Rosmersholm: Existentialist Tragedy or Escapist Fantasy? A Dialogue,' in D. Haakansen (ed), Contemporary Approaches to Ibsens Vol IV (Oslo, 1979), 83-100. Read Article
Week Five: Marital prisons. Ibsen’s Hedda Gabler and Strindberg’s Dance of Death.
Week Six: Reading Week.
Week Seven: The shift to symbolist and expressionist forms of theatre. Ibsen’s Little Eyolf and Strindberg’s Easter.
Derek Russell Davis and David Thomas, 'Liberation and Entrapment in Little Eyolf,' in D. Haakensen (ed), Contemporary Approaches to Ibsen Vol V (Oslo, 1985) 48-57. Read Article
Week Eight: Dreams and visions. Ibsen’s Master Builder and Strindberg’s A Dream Play.
Week Nine: An ego-centric world. Ibsen’s John Gabriel Borkman and Strindberg’s To Damascus.
Week Ten: Dramatic epilogues. A scenography of the soul in Ibsen’s When we dead awaken and Strindberg’s Ghost Sonata.