Aarseth, Asbjørn, Peer Gynt and Ghosts (Basingstoke: Macmillan, 1989).
Anderman, Gunilla, Europe on Stage: Translation and Theatre (London: Oberon, 2005).
Binding, Paul, With Vine-Leaves in His Hair: The Role of the Artist in Ibsen’s Plays (Norwich: Norvik Press, 2006).
Bloom, Harold, ed., Henrik Ibsen, Modern Critical Views (Philadelphia: Chelsea House, 1999).
Bryan, George B., An Ibsen Companion (Westport, Conn.: Greenwood Press, 1984).
Durbach, Errol, ed., Ibsen and the Theatre (London: Macmillan, 1980).
––– ‘Ibsen the Romantic’: Analogues of Paradise in the Later Plays (London: Macmillan, 1982).
Egan, Michael, ed., Henrik Ibsen: The Critical Heritage (London: Routledge, 1997 [1972]).
Ewbank, Inga-Stina et al., eds., Anglo-Scandinavian Cross-Currents (Norwich: Norvik Press, 1999).
Fischer-Lichte, Erika et al., eds., Global Ibsen: Performing Multiple Modernities (London: Routledge, 2011).
Fulsås, Narve, ‘Ibsen Misrepresented: Canonization, Oblivion, and the Need for History’, Ibsen Studies 11, no. 1 (2011).
Goldman, Michael, Ibsen: The Dramaturgy of Fear (New York: Columbia University Press, 1999).
Helland, Frode, ‘Empire and Culture in Ibsen: Some Notes on the Dangers and Ambiguities of Interculturalism’, Ibsen Studies 9, no. 2 (2009).
Holledge, Julie, ‘Addressing the Global Phenomenon of A Doll’s House: An Intercultural Intervention’, Ibsen Studies 8, no. 1 (2008).
Innes, Christopher, ed., Henrik Ibsen’s Hedda Gabler: A Sourcebook (London: Routledge, 2003).
Johnston, Brian, The Ibsen Cycle (University Park, Pa.: Pennsylvania University Press, 1992).
Kittang, Atle, ‘Ibsen, Heroism, and the Uncanny’, Modern Drama 49, no. 3 (2006).
Ledger, Sally, Henrik Ibsen, (Writers and Their Work) (Tavistock: Northcote House, 2008 [1999]).
Lyons, Charles R., ed., Critical Essays on Henrik Ibsen (Boston, Mass.: G. K. Hall, 1987).
––– Henrik Ibsen: The Divided Consciousness (Carbondale, Ill.: Southern Illinois University Press, 1972).
McFarlane, James, ed., The Cambridge Companion to Ibsen (Cambridge: Cambridge University Press, 1994).
––– Ibsen and Meaning: Studies, Essays and Prefaces 1953–87 (Norwich: Norvik Press, 1989).
Malone, Irina Ruppo, Ibsen and the Irish Revival (Basingstoke: Palgrave, 2010).
Meyer, Michael, Henrik Ibsen (abridged edition) (London: Cardinal, 1992 [1971]).
Moi, Toril, Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy (Oxford: Oxford University Press, 2006).
Moretti, Franco, The Bourgeois: Between History and Literature (London: Verso, 2013).
Northam, John, Ibsen’s Dramatic Method: A Study of the Prose Dramas (Oslo: Universitetsforlaget, 1971 [1953]).
Puchner, Martin, ‘Goethe, Marx, Ibsen and the Creation of a World Literature’, Ibsen Studies 13, no. 1 (2013).
Rem, Tore, ‘ “The Provincial of Provincials”: Ibsen’s Strangeness and the Process of Canonisation’, Ibsen Studies 4, no. 2 (2004).
Sandberg, Mark, Ibsen’s Houses (Cambridge: Cambridge University Press, forthcoming).
Shepherd-Barr, Kirsten, Ibsen and Early Modernist Theatre, 1890–1900 (Westport, Conn.: Greenwood Press, 1997).
Templeton, Joan, Ibsen’s Women (Cambridge: Cambridge University Press, 1997).
Törnqvist, Egil, Ibsen: A Doll’s House (Cambridge: Cambridge University Press, 1995).
Williams, Raymond, Drama from Ibsen to Brecht (Harmondsworth: Penguin, 1974).
Ibsen.nb.n is a website with much useful information on Ibsen and on Ibsen productions worldwide: http://ibsen.nb.no/id/83.0.
Henrik Ibsens Skrifter is the new critical edition of Ibsen’s complete works. So far only available in Norwegian: http://www.ibsen.uio.no/forside.xhtml.
Ibsen Studies is the leading Ibsen journal.