國立虎尾科技大學 |

Chinese Ibsenism = Reinventions of Women, Class and Nation /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Chinese Ibsenism/ by Kwok-kan Tam.
其他題名:	Reinventions of Women, Class and Nation /
作者:	Tam, Kwok-kan.
面頁冊數:	XI, 298 p. 27 illus., 12 illus. in color.online resource. :
Contained By:	Springer Nature eBook
標題:	Theater. -
電子資源:	https://doi.org/10.1007/978-981-13-6303-0
ISBN:	9789811363030

Chinese Ibsenism = Reinventions of Women, Class and Nation /
Tam, Kwok-kan.

Chinese IbsenismReinventions of Women, Class and Nation /[electronic resource] :by Kwok-kan Tam. - 1st ed. 2019. - XI, 298 p. 27 illus., 12 illus. in color.online resource.

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.

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 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).

ISBN: 9789811363030

Standard No.: 10.1007/978-981-13-6303-0doiSubjects--Topical Terms:

836732
Theater.

LC Class. No.: PN2000-3307

Dewey Class. No.: 792

Chinese Ibsenism = Reinventions of Women, Class and Nation /
LDR:04083nam a22003975i 4500 001 1009731
003 DE-He213
005 20200701053800.0
007 cr nn 008mamaa
008 210106s2019 si | s |||| 0|eng d
020 $a 9789811363030 $9 978-981-13-6303-0
024 7 $a 10.1007/978-981-13-6303-0 $2 doi
035 $a 978-981-13-6303-0
050 4 $a PN2000-3307
072 7 $a AN $2 bicssc
072 7 $a PER011000 $2 bisacsh
072 7 $a ATD $2 thema
082 0 4 $a 792 $2 23
100 1 $a Tam, Kwok-kan. $e author. $4 aut $4 http://id.loc.gov/vocabulary/relators/aut $3 1297869
245 1 0 $a Chinese Ibsenism $h [electronic resource] : $b Reinventions of Women, Class and Nation / $c by Kwok-kan Tam.
250 $a 1st ed. 2019.
264 1 $a Singapore : $b Springer Singapore : $b Imprint: Springer, $c 2019.
300 $a XI, 298 p. 27 illus., 12 illus. in color. $b online resource.
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
347 $a text file $b PDF $2 rda
505 0 $a 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.
520 $a 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 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).
650 0 $a Theater. $2 swd $3 836732
650 0 $a Culture. $3 556041
650 0 $a Gender. $3 1214940
650 0 $a Literature, Modern—20th century. $3 1254198
650 1 4 $a Applied Theatre. $3 1297529
650 2 4 $a Culture and Gender. $3 1117475
650 2 4 $a Sociology of Culture. $3 1069629
650 2 4 $a Twentieth-Century Literature. $3 1105346
710 2 $a SpringerLink (Online service) $3 593884
773 0 $t Springer Nature eBook
776 0 8 $i Printed edition: $z 9789811363023
776 0 8 $i Printed edition: $z 9789811363047
776 0 8 $i Printed edition: $z 9789811363054
856 4 0 $u https://doi.org/10.1007/978-981-13-6303-0
912 $a ZDB-2-LCM
912 $a ZDB-2-SXL
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)
950 $a Literature, Cultural and Media Studies (R0) (SpringerNature-43723)