易卜生与世界主义:兼论易剧在中国的改编

Ibsen and Cosmopolitanism and the Adaptation of His Plays in China

讨论易卜生与世界主义的关系应该首先对世界主义这个概念进行重新定义。作者在对世界主义作了十个方面的界定后指出,易卜生与世界主义的关系主要体现于三个方面:(1)易卜生的世界主义观念以及他的流散经历;(2)易卜生剧作的世界主义题材以及他的作品所表现出的全球性意义;(3)易卜生的全球关怀以及他本人在世界文学中的地位。作者接着从世界主义的视角对《培尔·金特》这部最具有世界主义特征的易剧作了深入的分析。作者认为,易卜生的世界主义元素尤其体现在他的作品在中国的被改编上。总之,在作者看来,易卜生不仅为他的同时代读者和观众而写作,同时也更为未来的读者和观众而写作。同样,他不仅仅为自己祖国的人民所诵读和欣赏,而且也更为其他国家的人民所诵读和欣赏。这就是为什么易卜生有着如此广泛的世界性声誉和影响的原因所在。

To deal with Ibsen and his relations with cosmopolitanism should start from the redefinition of the controversial concept of cosmopolitanism. After his re-description of cosmopolitanism in ten forms, the author points out that Ibsen＇s relations with cosmopolitanism are represented in three aspects：（1） Ibsen＇s cosmopolitan ideas and diasporic experience;（2） the cosmopolitan subject matters of Ibsen＇s plays and the global significance of his works;（3） Ibsen＇s global concern and his canonical position in world literature. The play Peer Gynt as the most cosmopolitan work produced by Ibsen is then analyzed from a cosmopolitan perspective. Furthermore, Ibsen＇s cosmopolitan elements find particular embodiment in the different adaptations and productions of his major plays in China. In short, the author holds that Ibsen not only wrote for his contemporary readers and audience but also for future readers and audience. Similarly, he is not only read and appreciated by his own country fellows but more by people of other countries. That is why Ibsen has such wide international reputation and influence.