Nora and Du Liniang: A Study of the Imported Feminism and the Fettered Feminism in Traditional Chinese Theatre

Xuekui GE

Abstract


This paper, through studying Du Liniang in The Peony Pavilion and Nora in A Doll’s House, argues that the feminism in traditional Chinese theatre was in its predicament when engendered and the appropriation of the feminism as personified by Nora was very different from what as embodied by Du Liniang. Thus the imported feminism only served as a placebo but never a solution to the emancipation of Chinese women at that time. At the end of the paper, the paper explains that the reason why Nora’s introduction to China was so sensational at the turn of 20th century, that is, both the wish to reinvigorate the nationhood and the rise of individualism contributes to the popularity of the Nora theme.

 


Keywords


Nora; A Doll’s House; Du Liniang; The peony pavilion; Fettered feminism; Predicament; Placebo

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References


Birch, C. (Trans.). (2002). The peony pavilion. Bloomington: Indiana University Press.

Gallienne, E. L. (Trans.). (1957). Six plays by Henrik Ibsen. New York: Random House.

Hu, Y. (2000). Tales of translation: Composing the new woman in China, 1898-1918. Stanford: Stanford University Press.

Ibsen, H. J. (1992). A Doll’s house. Dover Thrift Editions.

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Leitch, V. B. (2001). The Norton anthology of theory and criticism. New York: W.W. Norton & Company, Inc.

Tam, K.-K. (1984). Ibsen in China: Reception and influence. Urbana.

Zeitlin, J. T. (1994). Shared dreams: The story of the three wives’ commentary on the peony pavilion. Harvard Journal of Asiatic Studies, 54(1), 127-179.




DOI: http://dx.doi.org/10.3968/n

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