Chinese Ibsenism

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).

• 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.