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Chinese Ibsenism

Reinventions of Women, Class and Nation

  • Book
  • © 2019

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Authors:
  1. Kwok-kan Tam

    1. School of Humanities and Social Science, Hang Seng University of Hong Kong, Shatin, Hong Kong

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  • 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

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Table of contents (15 chapters)

  1. Front Matter

    Pages i-xi
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  2. Introduction Ibsenism and Reinventions of Chinese Culture

    • Kwok-kan Tam
    Pages 1-13

  3. Chapter One Modern Chinese Theatre as Public Sphere

    • Kwok-kan Tam
    Pages 15-35

  4. Chapter Two Iconoclasm in Chinese Ibsenism

    • Kwok-kan Tam
    Pages 37-54

  5. Chapter Three Divided Ibsenism in Divided China

    • Kwok-kan Tam
    Pages 55-72

  6. Chapter Four Translation and the Dissemination of Ibsenism

    • Kwok-kan Tam
    Pages 73-91

  7. Chapter Five Ibsenism as Individualism of the Self

    • Kwok-kan Tam
    Pages 93-107

  8. Chapter Six Noraism and Class Ideology in Modern Chinese Fiction

    • Kwok-kan Tam
    Pages 109-130

  9. Chapter Seven Women and Gender in Modern Chinese Drama

    • Kwok-kan Tam
    Pages 131-155

  10. Chapter Eight Postsocialist Ibsenism Beyond Class Ideology

    • Kwok-kan Tam
    Pages 157-174

  11. Chapter Nine Reinventions of Women and Nation in Ibsen Performances

    • Kwok-kan Tam
    Pages 175-206

  12. Chapter Ten Ibsenism and Ideology in Chinese Playwriting

    • Kwok-kan Tam
    Pages 207-226

  13. Conclusion Chinese Ibsenism in the Politics of Global Literary Reception

    • Kwok-kan Tam
    Pages 227-239

  14. Appendix One Chinese Translations and Rewritings of Ibsen’s Works

    • Kwok-kan Tam
    Pages 241-248

  15. Appendix Two Chinese Stage Performances and Film Productions of Ibsen’s Plays

    • Kwok-kan Tam
    Pages 249-262

  16. Bibliography

    • Kwok-kan Tam
    Pages 263-289

  17. Back Matter

    Pages 291-298
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Keywords

About this book

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).



Authors and Affiliations

  • School of Humanities and Social Science, Hang Seng University of Hong Kong, Shatin, Hong Kong

    Kwok-kan Tam

About the author

Kwok-kan Tam is Chair Professor of English and Dean of Humanities and Social Science at the Hang Seng University of Hong 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).




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