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).

This book explores the reasons for adopting a hermeneutical version of reception theory in discussing modern Chinese culture. Between Tradition and Change is centered around the contributions of Hu Shi, Lu Xun, and Mao Dun to May Fourth Literature. It employs literary theory (hermeneutics) in order to clarify the meaning of cultural change, instead of merely offering a history of May Fourth culture or a discussion of representative figures.Contents: Preface; Acknowledgments; May Fourth Literature Between Past and Present; Problems in May Fourth Interpretation; Hermeneutics and Chinese Literary History; Reception Theory and the May Fourth Reader; The Formation of the Reader in Hu Shi, Lu Xun, and Mao Dun; May Fourth Literature and Dialogue East/West; Notes; Bibliography.

Henrik Ibsen is one of the most influential foreign writers in 20th century China. In the century review of Chinese Ibsenism, He Chengzhou explores Chinese "Noraism" in the context of the Chinese reception of Ibsen as a realist, a romantic and a symbolist, and analyses this dramatic phenomenon from historical, cultural and literary perspectives. It also initiates the study of the Chinese relay translations of Ibsen by comparing them with the Norwegian original. No foreign writer contributed as much to the rise of modern Chinese drama as Ibsen did. In this book He Chengzhou demonstrates that Ibsen's influence on modern Chinese drama underwent three important stages: from Chinese "problem drama" to Tian Han's early realistic plays and to Cao Yu's great masterpieces. Based on close textual analysis, the author interprets and analyses both the influence and the inter-textual relationships between Ibsen's plays and modern Chinese plays. Among other things, the author offers an unprecedented comparative study of Hedda Gabler and Sunrise. With the establishment of realistic drama in China, Ibsen was integrated into the Chinese dramatic tradition. Ibsen's influence on contemporary Chinese dramatists has come both directly and indirectly via that heritage of Chinese modern drama.

The present volume of Critical Studies is a collection of selected essays on the topic of feminism and femininity in Chinese literature. Although feminism has been a hot topic in Chinese literary circles in recent years, this remarkable collection represents one of the first of its kind to be published in English. The essays have been written by well-known scholars and feminists including Kang-I Sun Chang of Yale University, and Li Ziyun, a writer and feminist in Shanghai, China. The essays are inter- and multi-disciplinary, covering several historical periods in poetry and fiction (from the Ming-Qing periods to the twentieth century). In particular, the development of women’s writing in the New Period (post-1976) is examined in depth. The articles thus offer the reader a composite and broad perspective of feminism and the treatment of the female in Chinese literature. As this remarkable new collection attests, the voices of women in China have begun calling out loudly, in ways that challenge prevalent views about the Chinese female persona.

This book analyses the different ways in which Ibsen’s plays were and are performed in different cultures on five continents and examines the impact of such performances on the theatre, social life, and politics of these cultures. It shows that performing Ibsen means performing multiple modernities.

This book systematically discusses the academic connotations of the concept of “Modern Chinese Literature”, as well as its basic categories. The discipline founded upon this concept is influential both in China and throughout the world, and scholars engaged in teaching and research in this field number around ten thousand. The discipline was originally established in haste in an abnormal academic environment, and, with the passage of time, such derivative disciplines as “Contemporary Chinese Literature”, “20th Century Chinese Literature”, “the Literature of Taiwan, Hong Kong and Macau” and “World Chinese Literature” have appeared. This book argues that these fields should be united in the area of “New Literature in Chinese”, because they have a shared language, culture and tradition. In today’s multi-polar world, where Chinese literature is so diversified, such an approach is obviously helpful.

This book explores the cultural bridges connecting George Bernard Shaw and his contemporaries, such as Charles Dickens and Arthur Miller, to China. Analyzing readings, adaptations, and connections of Shaw in China through the lens of Chinese culture, Li details the negotiations between the focused and culturally specific standpoints of eastern and western culture while also investigating the simultaneously diffused, multi-focal, and comprehensive perspectives that create strategic moments that favor cross-cultural readings. With sources ranging from Shaw's connections with his contemporaries in China to contemporary Chinese films and interpretations of Shaw in the digital space, Li relates the global impact of not only what Chinese lenses can reveal about Shaw's world, but how intercultural and interdisciplinary readings can shed new light on familiar and obscure works alike.