LEADER 04304nam 22005415 450 001 9910483518403321 005 20251113184440.0 010 $a981-13-6303-X 024 7 $a10.1007/978-981-13-6303-0 035 $a(CKB)4100000009451762 035 $a(DE-He213)978-981-13-6303-0 035 $a(MiAaPQ)EBC5894494 035 $a(EXLCZ)994100000009451762 100 $a20190910d2019 u| 0 101 0 $aeng 135 $aurnn|008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aChinese Ibsenism $eReinventions of Women, Class and Nation /$fby Kwok-kan Tam 205 $a1st ed. 2019. 210 1$aSingapore :$cSpringer Nature Singapore :$cImprint: Springer,$d2019. 215 $a1 online resource (XI, 298 p. 27 illus., 12 illus. in color.) 311 08$a981-13-6302-1 327 $aChapter 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. 330 $aThis 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). 606 $aTheater 606 $aSex 606 $aCulture 606 $aLiterature, Modern$y20th century 606 $aApplied Theatre 606 $aGender Studies 606 $aSociology of Culture 606 $aTwentieth-Century Literature 615 0$aTheater. 615 0$aSex. 615 0$aCulture. 615 0$aLiterature, Modern 615 14$aApplied Theatre. 615 24$aGender Studies. 615 24$aSociology of Culture. 615 24$aTwentieth-Century Literature. 676 $a792 700 $aTam$b Kwok-kan$4aut$4http://id.loc.gov/vocabulary/relators/aut$0647782 906 $aBOOK 912 $a9910483518403321 996 $aChinese Ibsenism$92855303 997 $aUNINA