This is a speech delivered at the closing ceremony of The Third International Ibsen Conference in China, which introduces some people and their studies on Ibsen in China, and takes A Doll’s House as an example for an...This is a speech delivered at the closing ceremony of The Third International Ibsen Conference in China, which introduces some people and their studies on Ibsen in China, and takes A Doll’s House as an example for an ethical analysis. The speech chooses Professor Wang Zhongxiang, Professor Kwok-kan Tam, Professor Knut Brynhildsvoll and others for an evaluation of their studies as the evidence of achievements in the Ibsen studies in the New Period in China. The speech, from the perspective of ethical literary criticism, also analyses A Doll’s House as a moral play to raise moral questions and concludes that Ibsen’s so-called social problem plays are ethical problem ones.展开更多
Catiline, Ibsen’s first play, has often been undervalued. Ibsen’s comments on this play that the ideas he expressed in this juvenile attempt are still what he thinks of after he has made great achievements in dramat...Catiline, Ibsen’s first play, has often been undervalued. Ibsen’s comments on this play that the ideas he expressed in this juvenile attempt are still what he thinks of after he has made great achievements in dramatic creation exactly show its true value. To a large extent, it is Catiline’s persistent pursuit of his ideal that may have moved the dramatist who has throughout his own life pursued his own ideal. What’s more, Ibsen may also have noticed the similar ethical dilemma that faces him and Catiline: the contraction between his earthly duties and his pursuit of the ideal.展开更多
Based on its author’s previous research, the present essay observes China’s Ibsen studies in a broader context of modernity and East-West cross-cultural communication and interaction. To the author, the early recept...Based on its author’s previous research, the present essay observes China’s Ibsen studies in a broader context of modernity and East-West cross-cultural communication and interaction. To the author, the early reception of Ibsen in China indeed promoted the process of China’s cultural modernity, but it should also be responsible for the misunderstanding and misconstruction of the image of Ibsen as a revolutionary thinker rather than an artist. In current international Ibsen scholarship, "return to Ibsen as an artist" represents the forefront research of Ibsen and his dramatic works. Inspired by the Marxian aesthetic construction of Shakespeareanization and Said’s conception of "traveling theory", the author for the first time creatively puts forward his theoretical construction of "Ibsenization", on the basis of which he is carrying on an equal dialogue with international Ibsen scholarship.展开更多
文摘This is a speech delivered at the closing ceremony of The Third International Ibsen Conference in China, which introduces some people and their studies on Ibsen in China, and takes A Doll’s House as an example for an ethical analysis. The speech chooses Professor Wang Zhongxiang, Professor Kwok-kan Tam, Professor Knut Brynhildsvoll and others for an evaluation of their studies as the evidence of achievements in the Ibsen studies in the New Period in China. The speech, from the perspective of ethical literary criticism, also analyses A Doll’s House as a moral play to raise moral questions and concludes that Ibsen’s so-called social problem plays are ethical problem ones.
文摘Catiline, Ibsen’s first play, has often been undervalued. Ibsen’s comments on this play that the ideas he expressed in this juvenile attempt are still what he thinks of after he has made great achievements in dramatic creation exactly show its true value. To a large extent, it is Catiline’s persistent pursuit of his ideal that may have moved the dramatist who has throughout his own life pursued his own ideal. What’s more, Ibsen may also have noticed the similar ethical dilemma that faces him and Catiline: the contraction between his earthly duties and his pursuit of the ideal.
文摘Based on its author’s previous research, the present essay observes China’s Ibsen studies in a broader context of modernity and East-West cross-cultural communication and interaction. To the author, the early reception of Ibsen in China indeed promoted the process of China’s cultural modernity, but it should also be responsible for the misunderstanding and misconstruction of the image of Ibsen as a revolutionary thinker rather than an artist. In current international Ibsen scholarship, "return to Ibsen as an artist" represents the forefront research of Ibsen and his dramatic works. Inspired by the Marxian aesthetic construction of Shakespeareanization and Said’s conception of "traveling theory", the author for the first time creatively puts forward his theoretical construction of "Ibsenization", on the basis of which he is carrying on an equal dialogue with international Ibsen scholarship.
