In the first number of the 2017 IS, Christian Janss's "When Nora Stayed: More Light on the German Ending of A Doll House" (5) corrects one of the most famous notions about Ibsen's early European reception: that the ending of the first German Doll House, in which Nora announces that she cannot bear to leave her children and stays home, was the result of the refusal of actress Hedwig NeimannRaabe to play Ibsen's text. ...in issue one of IS 2017 is "Reading Ibsen with Irigaray: Gendering Tragedy in Hedda Gabler" (7), by Lior Levy, who wants to show that Hedda is a victim/heroine who embodies Irigaray's antipatriarchal argument in Speculum de l 'autre femme. Since Levy devotes only a few paragraphs to Speculum before applying it to Ibsen's play, her argument is thin. Brand shocked the pants off a large part of the "general public," as did Love's Comedy, which is said to have attacked "the amatory institutions of society" when in fact the play was a jeremiad in which Ibsen, as he said, "cracked the whip as best I could over love and marriage," causing such a scandal that he was ostracized by the good citizens of Christiania. ...the "self-image" that Ibsen presented in his plays-"a liar and a story teller in Peer Gynt, an enemy of the people, an old master-builder afraid of the new generation, an artist who has forsaken his muse"-is too reductive to warrant comment.