跨文化的易卜生

出版时间：2012-12  出版社：孙建、 弗洛德•赫兰德 (Frode Helland) 复旦大学出版社 (2012-12出版)  

内容概要

《跨文化的易卜生(英文)》内容简介：Ibsen has remained a popular dramatist in China and he has made anotable contribution to China in the process of its modernity.He was one ofthe Western writers first introduced into China during the stormy years at thebeginning of the 20th century when China started to transform itself from afeudalistic nation into a modern one.

作者简介

作者：孙建 （挪威）弗洛德·赫兰德（Frode Helland）

书籍目录

1. Ibsen:A Contemporay Bangladeshi Playwright 2. Ibsen's Compass:Points of Dread and Desire 3. On Peer Gynt:A Critical Review of the Annual Peer Gynt Performance in Golaa, Gudbrandsdalen 4. Norwegian Superman-or…? What to think as a Norwegian when Ibsen has gone global,with John Gabriel Borkman as example 5. A Doll's House and Kramer vs.Kramer:Objections to Family Law 6. Some Observations on Ibsen's The Wild Duck 7. Treading on New Ground:African Adaptations of "A Doll's House" 8. From Self-lost to Self-realization-Ibsen's Nora and Chinese Women's Quest for Modern 9. Multi-receptions of Ibsenism in China:From Misinterpretation to Innovation 10. Interculturalism in Theatre and the Chinese Performances of Ibsen 11. Translating Ibsen in 2009:An Apology of Literality 12. Discord and Harmony between Human and Nature:An Ecological Interpretation of The Lady from the Sea 13. The Role of Women in the Reception of Ibsen in Finland in the 1880s and 1890s 14. Intercultural Implications of A Doll's House:Experiences with a Production of Ibsen's Play in Mozambique 15. Two Dissenting Voices:Harold Pinter's Mountain Language and Henrik Ibsen's A Doll's House 16. Ibsen's "Master Builder":A Church,a House,a Castle in the Air 17. The Crisis in the Self and the Self in Times of Crisis 18. The Theme of "Discussion":Ibsen,Shaw and Ding Xilin Compared 19. Mapping Et dukkehjem 20. Ibsen and Rabindranath-Meeting Points 21. Peer Gynt's Boundary-crossings:The Global Map of His Empirical and Mental Journeys 22. Beyond the Tarantella:Re-visualizing Pain and Pleasure in Henrik Ibsen's A Doll's House 23. The Interaction of Texts and Performances of Ibsen's Plays-Ibsen in the Drama Teaching in Shanghai Theatre Academy 24. Ibsen in the Globalized Society:Multiculturalism-or the Lack thereof-in Norwegian Ibsen Performance 25. Reception of Ibsen in Latvia during the Soviet Occupation (1940-1991) 26. Post-perestroyka Receptions in Staging Ibsen 27. Playbird or Featherbrain? 28. Translating Insen's Byggmester Solness into Russian 29. Singularly Bound:Henrik Ibsen and Theatrical Survival 30. The Lady from the Sea:Emergence From Marine Unconscious to Awakened Living 31. Ibsen's Enigma Variations:Re-imagining Intercultural Performance Research 32. The Use of Gun and the Myth of Freedom 33. "Political Orgies":Ibsen's Plays and Contemporary Bangladesh 34. Nora in A Doll's House and Bangladesh Perspective 35. Verfremdungseffekt in Mabou Mines Dollhouse 36. The Making of a World Dramatist:Ibsen and Det Norske Theater 37. Ibsen in Bengal (eastern India):Negotiating Difference Contemporary Bengali Representations of When We Dead Awaken and The Wild Duck 38. Ibsen's Use of Holy Days:An Amalgam of Philosophy, Poetry and Religion 39. Ibsen in Nigerian Theatre:Dramatic Arts Department,Obafemi Awolowo Ile-Ife, Osun State as a Case Study 40. Globalizing Nora and Torvald:OyamO's A Selfish Sacrifice-in China? 41. Ibsen and Usigli:Two Creators of a National Theater 42. Rethinking Ibsen's Multiple Influences on Modern Chinese Drama 43. A Doll's House on Chinese Stage 44. Feminist Awakening and Self-definition-A Comparative Study of Female Characters in A Doll's House and Jin Ping Mei 45. Toward a Rediscovery of Ibsen's National Historical Plays in China

章节摘录

版权页：   插图：   And in the storms,too-" (265) This was really baffling! The boy was born several years after the stranger's departure,and he could not be the child of Ellida and the stranger;however,why Ellida deliberately had such feeling? What's more,she even emphasizes that she "saw it well enough."(265) Hither the visual mistake reveals her inner secret: in the depth of her heart,Ellida by no means forgets the stranger;furthermore,she bears deep emotions towards him.In his manuscript noteson the first draft of the play,Ibsen once mentioned that,"The secret of her marriage lies in that,the bewitching power of imagination pulls her back to the past,by the side of the loafer whose whereabouts is a mystery.This is what she hardly dares to admit or even think about.In the last analysis,she fancies by the light of nature that,she leads a couple's life together with him all along."(Hemmer 347) This at least explains that,in her deep heart,Ellida would rather lead a couple's life with the stranger,and she still dreams of the free life which takes after the extensive and unbounded ocean.Nevertheless,in the eyes of the public,she has to preserve her image of Ms.Wangel,without any extreme or sensitive acts thereupon,she has no alternative but to find sustenance in the changeable and unpredictable sea all day long,so as to feel the spiritual communication with the stranger,and to experience the wandering life all over the world as the stranger has described for her. When she lives together with Wangel in the five to six years' time,she loves him wholeheartedly indeed,but in the meantime,she can hardly forget the stranger as well.Especially after the boy was born,his strange eyes correspond to a certain desire in her subconsciousness all of a sudden.People can faintly feel that,the honest and faithful Ellida often feels restless and uneasy in her mind~ or we can even say that she bears double sense of guilt at the bottom of her heart:she not only feels sorry for Wangel (as she misses the stranger in her heart),but also feels ashamed and regretful for the stranger (as she stays together with Wangel in real life).Just because of her "honesty," she is burdened with the "sense of guilt";and just because of thedeep sense of guilt,Ellida is often bothered with ominous illusions and scared to death.According to what she says,"Sometimes,suddenly,I can see him standing large as life in front of me.Or actually - a little to one side.He never looks at me.He's simply there And clearest of all I can see the stickpin he wore,with a great blue-white pearl in it.

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《跨文化的易卜生(英文)》由复旦大学出版社出版。