In this paper, I will discuss Chinese adaptations of A Doll＇s House as a point of departure to see how problems arise when the self and the behaviour of a person is defined in legal terms at the expense of moral moti...In this paper, I will discuss Chinese adaptations of A Doll＇s House as a point of departure to see how problems arise when the self and the behaviour of a person is defined in legal terms at the expense of moral motives and how men and women have different concepts of law and morality. Gender issues in the formation of selfhood and philosophical concepts of behavioural ＂performativity＂ will be examined in the context of China＇s experimentations in projecting new concepts of womanhood and the female self. As a context, I will also outline some of the changes in cultural values and ethical categories in China over the past century, so as to see why the individualist conception of the self has played such a paramount important role in China＇s quest for modernity.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In this paper, I will discuss Chinese adaptations of A Doll＇s House as a point of departure to see how problems arise when the self and the behaviour of a person is defined in legal terms at the expense of moral motives and how men and women have different concepts of law and morality. Gender issues in the formation of selfhood and philosophical concepts of behavioural ＂performativity＂ will be examined in the context of China＇s experimentations in projecting new concepts of womanhood and the female self. As a context, I will also outline some of the changes in cultural values and ethical categories in China over the past century, so as to see why the individualist conception of the self has played such a paramount important role in China＇s quest for modernity.
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.
