Edvard Munch’s Toponymic Codes by Berman, Patricia G.

Subjects: “…Clinic. Edvard Munch. Sanatorium. Self-staging. Toponym…”
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The Influence of Disease and Human Sufferance on Edvard Munch’s Art by Ana-Maria DUMITRESCU, Andreas Nilsen MYHRE, Charlotte Louise BYSHEIM-SKORPEN, Moenis SAWAED

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Fear and Ecological (in)Justice in Edvard Munch’s The Scream of Nature by Afshin Akhtar-Khavari

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Levinas on Death - An interpretation of Edvard Munch’s The Death of Marat II (1907) by Jonas M. N. Sörensen

“…Due to Levinas we experience the death of the Other as the end of the Others capacity of expression. By interpreting Edvard Munch’s painting The Death of Marat that unlike David’s canonical painting of Marat is portraying both Marat and his killer Corday, I want to put Levinas’ thesis stating our responsibility for the Other as infinite into play. …”
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Moses revisited. August Strindberg’s and Edvard Munch’s dramatic use of the figure of Moses by Camilla Storskog

“…In this essay I explore the literary interpretation of the figure of Moses in August Strindberg’s and Edvard Munch’s contemporary plays, Genom öknar till arvland (Through Deserts to Ancestral Lands,  1903) and Den fri Kjærligheds By (The City of Free Love, ca. 1905). …”
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O diário do autor louco, de Edvard Munch (1863–1944) by Ludmila Menezes Zwick

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Kill-Or-Cure Remedy Challenge: Approaches to Authenticity in the Interpretation and Preservation of Paintings by Edvard Munch at the Munch Museum by Jin Strand Ferrer, Terje Syversen, Tomas Markevicius

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“Ibsen e o friso da vida!”, O friso da vida e A gênese do friso da vida, de Edvard Munch by Ludmila Menezes Zwick

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“Living People Who Breathe and Feel and Suffer and Love” by Byron Breedlove

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Recenzja książki Ewy Partygi «Ibsenowskie konstelacje. Ćwiczenia w patrzeniu i czytaniu» (Instytut Sztuki Polskiej Akademii Nauk, Warszawa 2016). by Lech Sokół

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Bergman's Dreams: Some notes by Paul Coates

“…Thus in Dreams such frames within the frame as a portrait and a window open up onto the oneiric; in Wild Strawberries, dreams are involved in the extensive doubling characteristic of the Expressionism also central to Bergman’s work; the oneirism of Persona may be illuminated not only by the obvious comparison with Edvard Munch, but also with Greek vase imagery; while Shame identifies the evaporation of dreams as one of humanity itself. …”
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The role of SVOCs in the initial film formation and soiling of unvarnished paintings by Terje Grøntoft, Jan Dariusz Cutajar

“…Abstract In recent years increased research efforts and environmental improvements have been directed towards the preventive conservation of the monumental, unvarnished oil paintings on canvas (1909–1916) by Edvard Munch (1863–1944) housed in the University of Oslo Aula. …”
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Munchʼs “Scream” as a sense-giving object for the conceptual entity. by S. Volkov

“…This goal involves visual art as a reference point, notably Edvard Munchʼs Scream series becoming an object for idea generation. …”
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