This book is a study of the relation between theatre art and ideology in the Chinese experimentations with new selfhood as a result of Ibsen's impact. It also explores Ibsenian notions of self, women and gender in China and provides an illuminating study of Chinese theatre as a public sphere in the dissemination of radical ideas. Ibsen is the major source of modern Chinese selfhood which carries notions of personal and social liberation and has exerted great impacts on Chinese revolutions since the beginning of the twentieth century. Ibsen's idea of the self as an individual has led to various experimentations in theatre, film and fiction to project new notions of selfhood, in particular women's selfhood, throughout the history of modern China. Even today, China is experimenting with Ibsen's notions of gender, power, individualism and self.
Kwok-kan Tam is Chair Professor of English and Dean of Humanities and Social Science at the Hang Seng University ofHong Kong. He was Head (2012-18) and is currently a member of the International Ibsen Committee, University of Oslo. He is a Foundation Fellow of the Hong Kong Academy of the Humanities. He has held teaching, research and administrative positions in various institutions, including the East-West Center, the Chinese University of Hong Kong and the Open University of Hong Kong. He has published numerous books and articles on Ibsen, Gao Xingjian, modern drama, Chinese film, postcolonial literature, and world Englishes. His recent books include Ibsen, Power and the Self: Postsocialist Experimentations in Stage Performance and Film (2019), The Englishized Subject: Postcolonial Writings in Hong Kong, Singapore and Malaysia (2019), and a co-edited volume Fate and Prognostication in the Chinese Literary Imagination (2019).

Offers a pioneering and in-depth study of Ibsen's ideological impacts in China Explores Ibsenian notions of self, women and gender in China Provides an illuminating study of Chinese theatre as a public sphere in the dissemination of radical ideas

Autorentext
Head of the International Ibsen Committee (University of Oslo) and Foundation Fellow of the Hong Kong Academy of the Humanities, Kwok-kan Tam is Chair Professor of English and Dean of Humanities and Social Science at Hang Seng University of Hong Kong. He has served as Chair Professor and Dean of Arts and Social Sciences at the Open University of Hong Kong and as Professor, Department Chairman and Head of Graduate Division at the Chinese University of Hong Kong. He has been awarded Visiting Professorships and Fellowships at Stockholm University, Friedrich-Alexander-Universität Erlangen-Nürnberg, Sophia University, National University of Singapore and the East-West Center, Honolulu. His areas of expertise include Ibsen studies, Gao Xingjian studies, world Englishes, postcolonial studies in literature, identity and gender studies, comparative literature, and drama. He has received numerous fellowships and grants for his research on Chinese Ibsenism.

Inhalt

Chapter 1 Introduction: Ibsenism and Reinventions of Chinese Culture.- Chapter 2 Modern Chinese Theatre as Public Sphere.- Chapter 3 Iconoclasm in Chinese Ibsenism.- Chapter 4 Divided Ibsenism in Divided China.- Chapter 5 Translation and the Dissemination of Ibsenism.- Chapter 6 Ibsenism as Individualism of the Self.- Chapter 7 Noraism and Class Ideology in Modern Chinese Fiction.- Chapter 8 Women and Gender in Modern Chinese Drama.- Chapter 9 Postsocialist Ibsenism Beyond Class Ideology.- Chapter 10 Reinventions of Women and Nation in Ibsen Performances.- Chapter 11 Ibsenism and Ideology in Chinese Playwriting.- Chapter 12 Conclusion: Chinese Ibsenism in the Politics of Global Literary Reception.- Chapter 13 Appendix 1: Chinese Translations and Rewritings of Ibsen's Works.- Chapter 14 Appendix 2: Chinese Stage and Film Productions of Ibsen's Plays.- Chapter 15 Bibliography.