(5) 关于易卜生于1882年3月16日给他的出版商的信件，参阅Einar Haugen, Ibsen’s Drama: Author to Audience, Minneapolis: Univ. of Minnesota Press, 1979, 3.
(6) 我这里尤其应当欣慰地指出，在易卜生的剧作艺术想象力的影响和启迪下，一些具有鲜明的先锋意识的中国戏剧导演，如吴晓江和孙惠柱等，通过重新翻译和理解易卜生的一些剧作，如《玩偶之家》、《海达·高布勒》、《群鬼》和《培尔·金特》等，已经将他们重新搬上中国的戏剧舞台，从而使得这些老的经典作品在当代中国重新产生了新的意义。
(7) Cf. Douwe Fokkema & Elrud Ibsch, Modernist Conjectures: A Mainstream in European Literature 1910-1940, London:Hurst & Company, 1987, 1-47.
(8)Malcom Bradbury & James McFarlane, eds., Modernism:1890-1930, Penguin Books, 1976, 499.
(9) 有关从后现代主义的视角对易卜生的剧作的研究，参阅下列论文：Charles R. Lyons, "Ibsen’s Realism and the Predicates of Postmodernism", in Contemporary Approaches to Ibsen, Vol. 8 (1994), 185-204; Wang Ning, "Postmodernizing Ibsen: Toward a New Interpretation of the Fin-de-Siecle", in Maria Deppermann et. al. eds., Ibsen im europaischen Spannungsfeld zwischen Naturalismus und Symbolismus, Frankfurt am Main: Peter Lang, 1998, 295-307.
(10) Cf. Wang Ning, "Postmodernizing Ibsen: Toward a New Interpretation of the Fin-de-Siecle", in Maria Deppermann et. al. eds., Ibsen im europaischen Spannungsfeld zwischen Naturalismus und Symbolismus, Frankfurt am Main: Peter Lang, 1998, 295-307.
(11)Haugen, Ibsen’s Drama: Author to Audience, 74.
(12) Ibid., 3-4.
(13)Cf. Brian Johnston, Text and Supertext in Ibsen’s Drama, University Park & London: The Pennsylvania State University Press, 1989, 7.
(14)Ibid., 9-27.
(15)Cf. Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge, tr. Geoff Bennington and Brian Massumi, Minneapolis: University of Minnesota Press, 1984, 81.
(16)参阅王宁，《现代性、翻译文学与中国现代文学经典重构》，载《文艺研究》，2002年第6期。
(17) 在这本专辑，胡适的长篇论文《易卜生主义》尤其值得一读，见《新青年》，第四卷，第6期（1918）：第489-507页。
(18)关于西方文艺思潮对20世纪中国文学的影响和启迪，参阅乐黛云、王宁主编，《西方文艺思潮与20世纪中国文学》，北京：中国社会科学出版社，1990年版。
(19) Cf. Edward Said, Reflections on Exile and Other Essays, Cambridge, Mass: Harvard University Press, 2000, 451.
(作者单位：清华大学外语系 邮编100084)
Ibsen as an Artist: Reflections on Ibsen and China
Abstract: Based on its author’s previous research, the present essay observes China’s Ibsen studies in a broad context of modernity and East-West cross-cultural communication and interaction. To the author, the early reception of Ibsen in China indeed promoted the process of China’s cultural modernity, but it should also be responsible for the misunderstanding and misconstruction of the im age of Ibsen as a revolutionary thinker rather than an artist. In current international Ibsen scholarship, "return to Ibsen as an artist" represents the forefront research of Ibsen and his dramatic works. Under the revelation of Marxian aesthetic construction of Shakespeareanization and Said’s conception of "traveling theory", the author for the first time creatively puts forward his theoretical construction of "Ibsenization", on the basis of which he is carrying on equal dialogue with international Ibsen scholarship.转贴于 酷文网-论文下载中心 http://www.coolwen.net
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