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Table of Contents
Intro; Preface; Note; Acknowledgements; Contents; Introduction Ibsenism and Reinventions of Chinese Culture; 1908: Lu Xun and the Reinvention of the Chinese Self; 1918: Hu Shi and the Reinvention of Chinese Morality; 1935: The Year of Nora and the Reinvention of Women; 1949: Peer Gynt and the Reinvention of the Socialist Self; 1981: Peer Gynt and the Reinvention of the Post-socialist Self; 1998: Chinese Culture and Ibsenism; The Spectre of Ibsenism; Chapter One Modern Chinese Theatre as Public Sphere; Seeds of Revolution: The Missionary Schools in China
Drama for Topical Issues: The Japanese ModelSpoken Drama as Public Sphere in China; The Emergence of Political Theatre; Ibsen in the Midst of the New Culture Movement; The Theatre as Social Movement; The Theatre for Political Speeches; Chapter Two Iconoclasm in Chinese Ibsenism; Ibsenism from Japanese Sources; Ibsen as a Dramatist; Ibsenism from Western Sources; Ibsen as a Social Thinker; Ibsen in the Context of European Drama; Differing Views on Ibsen; Chapter Three Divided Ibsenism in Divided China; Ibsen Centenary in China; Crescent Moon Society's Position; Creation Society's Position
A Psycho-Critical ApproachIbsen's Dramatic Art; The Media and the Dissemination of Radical Ideas; Chapter Four Translation and the Dissemination of Ibsenism; Ibsen Translations for the New Culture Movement; Ibsen Translations and the Publishing Media; Ibsen Translations to Serve the Nation; Feminist Reprints and Translations; Post-socialist Translations and Editions; Ibsen and the Chinese Reading Public; Chapter Five Ibsenism as Individualism of the Self; Ibsen in the Midst of China's Cultural Reinvention; Literature for the Human Individual; Marxist Ibsenism
Literature for Exposé of Social ProblemsChapter Six Noraism and Class Ideology in Modern Chinese Fiction; Social Debates on Women's Issues in China; Ideological Constructions of Women; From Personal Freedom to Class Ideology; The Politics of Self-Autonomy; Chapter Seven Women and Gender in Modern Chinese Drama; The Social Problem Plays in China; Rewriting History and Reinventing Women; Helmer Sinicized and Reversed; Ibsen Romanticized; Assimilation with Ibsen's Dramatic Techniques; Chapter Eight Postsocialist Ibsenism Beyond Class Ideology; Marxist Views on Ibsen
Ibsen as an Icon of Socialist CultureCritiquing Hu Shi; Years of Silence during the Cultural Revolution; Ibsen and Feminism in the Second Liberation; Ibsenism Beyond Marxism; A Postsocialist View on Individuality; Chapter Nine Reinventions of Women and Nation in Ibsen Performances; A Doll's House and Autonomy of the Female Self; Class Ideology in Staging A Doll's House; Reinventing Women and Nation: Female Emancipation; A Doll's House as National Allegory; A Doll's House in Cubist Representation of Femininity; Staging Women from Social(ist) Realism to Postmodernism; Chapter Ten Ibsenism and Ideology in Chinese Playwriting
Drama for Topical Issues: The Japanese ModelSpoken Drama as Public Sphere in China; The Emergence of Political Theatre; Ibsen in the Midst of the New Culture Movement; The Theatre as Social Movement; The Theatre for Political Speeches; Chapter Two Iconoclasm in Chinese Ibsenism; Ibsenism from Japanese Sources; Ibsen as a Dramatist; Ibsenism from Western Sources; Ibsen as a Social Thinker; Ibsen in the Context of European Drama; Differing Views on Ibsen; Chapter Three Divided Ibsenism in Divided China; Ibsen Centenary in China; Crescent Moon Society's Position; Creation Society's Position
A Psycho-Critical ApproachIbsen's Dramatic Art; The Media and the Dissemination of Radical Ideas; Chapter Four Translation and the Dissemination of Ibsenism; Ibsen Translations for the New Culture Movement; Ibsen Translations and the Publishing Media; Ibsen Translations to Serve the Nation; Feminist Reprints and Translations; Post-socialist Translations and Editions; Ibsen and the Chinese Reading Public; Chapter Five Ibsenism as Individualism of the Self; Ibsen in the Midst of China's Cultural Reinvention; Literature for the Human Individual; Marxist Ibsenism
Literature for Exposé of Social ProblemsChapter Six Noraism and Class Ideology in Modern Chinese Fiction; Social Debates on Women's Issues in China; Ideological Constructions of Women; From Personal Freedom to Class Ideology; The Politics of Self-Autonomy; Chapter Seven Women and Gender in Modern Chinese Drama; The Social Problem Plays in China; Rewriting History and Reinventing Women; Helmer Sinicized and Reversed; Ibsen Romanticized; Assimilation with Ibsen's Dramatic Techniques; Chapter Eight Postsocialist Ibsenism Beyond Class Ideology; Marxist Views on Ibsen
Ibsen as an Icon of Socialist CultureCritiquing Hu Shi; Years of Silence during the Cultural Revolution; Ibsen and Feminism in the Second Liberation; Ibsenism Beyond Marxism; A Postsocialist View on Individuality; Chapter Nine Reinventions of Women and Nation in Ibsen Performances; A Doll's House and Autonomy of the Female Self; Class Ideology in Staging A Doll's House; Reinventing Women and Nation: Female Emancipation; A Doll's House as National Allegory; A Doll's House in Cubist Representation of Femininity; Staging Women from Social(ist) Realism to Postmodernism; Chapter Ten Ibsenism and Ideology in Chinese Playwriting