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跨文化的易卜生 |
作者： |
孙建 [挪威]佛洛德·赫兰德 主编
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定价： |
80 元 |
页数： |
502页 |
ISBN： |
978-7-309-08791-8/I.672
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字数： |
639千字 |
开本： |
16
开 |
装帧： |
平装 |
出版日期： |
2012年12月
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本类其他相关图书 |
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内容提要
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Preface
On the morning of June 15, 2009, the conference hall in Guanghua Tower at Fudan University in Shanghai was filled to capacity. The XII International Ibsen Conference was being held there with the presence of more than 80 participants from 18 countries around the world. The conference, the first one held outside West, was a grand occasion for the Ibsen scholars when “All the virtuous intellectuals gathered, varying from old and young” as a Chinese expression goes.
I still cherish a pleasant and vivid memory of my experience in Oslo where I attended the XI International Ibsen Conference during which I was first approached one day by two renowned Ibsen scholars, Professor Errol Burbach (President of IIC) and Professor Helge Rnning (an IIC member), who asked me about the possibility of having the next conference at Fudan University in Shanghai. And then on a later occasion, Professor Joan Templeton met with me at a party in a beautiful garden owned by the Aschehoug Publishing Company at Hafrsfjordgate in Oslo and formally invited me to be the organizer of the future conference. Finally the XI International Ibsen Committee designated Fudan University as the venue for the XII International Ibsen Conference. I felt very happy and excited after the announcement, regarding the endorsement as an honor not only for Fudan University but for China as well.
Ibsen has remained a popular dramatist in China and he has made a notable contribution to China in the process of its modernity. He was one of the Western writers first introduced into China during the stormy years at the beginning of the 20th century when China started to transform itself from a feudalistic nation into a modern one. His plays, especially his A Doll House, inspired not only the Chinese playwrights who endeavored to revolutionize the traditional theatre in China but also the young intellectuals seeking to set up a brand new society free from all the suffocating old doctrines during the New Culture Movement and the May 4th Movement. Ambassador Svein O. Sther was precise to point out in his opening remarks at the XII International Ibsen Conference: “The interest for Ibsen in China has long roots, going back to the May 4th Movement in 1919 and the famous Chinese author Lu Xun.” His words were echoed by Professor Joan Templeton, President of the XII International Ibsen Committee, who spoke in her address on behalf of the committee that “Ibsen’s influence has been primordial both in Chinese theatre and in Chinese social and cultural history since the early years of the 20th century.”
Fudan University was one of the pioneering universities in China to embrace the reform both in the theatre and the society with gusto. The famous Chinese dramatist Hong Shen, who was determined to become “the Chinese Ibsen”, contributed greatly to the development of the new theatre. He came to teach at Fudan in 1923 and helped establish the Fudan Drama Society which did much to popularize the ideas of modern Western drama represented by Ibsen. Since then, Ibsen’s plays have been regularly taught and performed on Fudan campus.
Since China opened up to the outside world in the 1980s, Fudan University has become an important venue for many activities and academic exchanges related to Ibsen. In 1987, a course on the selected readings of Ibsen’s plays was offered. From 2003 to 2006, a series of activities, such as the International Ibsen Symposium, the Seminar on the “Ibsen between Cultures” and the Ibsen Memorial Week, took place at the university with the participation of many scholars from home and abroad.
On April 11, 2007, a plenary meeting of the XII International Committee was held at Fudan University. The members reviewed the report for the preparation, inspected the venue and chose “Ibsen Across Cultures” as the theme for the conference after a serious discussion. The call for papers then specified the theme as the one “intended to prompt questions about what constitutes a cultural boundary, about the ways in which dramatic texts and performances are culturally ‘marked,’ and about the uses and appropriations of Ibsen’s dramas in cultural contexts outside those of the author.”
During the weeklong conference, the participants presented many thoughtprovoking papers by focusing on such topics under the general theme as translations and adaptations of Ibsen’s plays, Ibsen in performance, the use and appropriations of Ibsen in a multicultural context, cultural specificity, and so on. A lot of new ideas and perspectives were raised, discussed and debated, adding a new dimension to Ibsen studies. The keynote speeches given by some noted Ibsen scholars demonstrated well the results of their research on Ibsen and drew positive response and comments from the participants. It goes without saying that the papers collected in this proceedings will be a great asset to Ibsen studies in the future.
Apart from meetings in the conference halls and meeting rooms, we also took a tour to the ancient village of Zhou Zhuang where we had one session on a beautiful Chinese style boat in the lake. And we also saw a performance of Ibsen’s The Lady from the Sea at the Shanghai Theatre Academy organized by Professor Liu Minghou with a setting of Shanghai in the 1930s. Both events lent color to the conference with many local and cultural elements.
Though three years have passed since the convening of the XII International Ibsen Conference at Fudan University in Shanghai, the historical significance of the conference cannot be overemphasized. Ibsen first crossed the cultural boundaries one century ago and made a great impact in China, and in this age of globalization when different cultures interact more intensely, Ibsen has a greater role to play both culturally and artistically. In this respect, “Ibsen Across Cultures” will remain a topical theme for the days to come.
To conclude, I wish to express my heartfelt gratitude to all the participants and institutions for their participation, enthusiasm and generous support without which this conference would not have been successful. I would like to specially thank Professor Frode Helland, Director of Centre for Ibsen Studies at Oslo University, who showed great concern for the conference by coming to Fudan twice to help with the preparations and who did a wonderful job by securing enough funding from Norway for the conference. Finally I must thank the Consulate General of Norway in Shanghai for providing financial support for the publication of the proceedings.
Shanghai, October 1, 2012
Sun Jian
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作者简介 |
Editors in chief：
Sun Jian, Professor, Director of Nordic Literature Research Institute, Fudan University, Shanghai, China. Member of the International Ibsen Committee.
Frode Helland, Professor, Director of Centre for Ibsen Studies, Oslo University, Norway. Member of the International Ibsen Committee.
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