Innehåller förteckning över uppsättningar av Ibsen i folkrepubliken Kina, bibliografi och index (s. 263-298)

Ibsenism and reinventions of Chinese culture -- Modern Chinese theatre as public sphere -- Iconoclasm in Chinese Ibsenism -- Divded Ibsenism in divided China -- Translation and the dissemination of Ibsenism -- Ibsenism as individualism of the self -- Noraism and class ideology in modern Chinese fiction -- Women and gender in modern Chinese drama -- Postsocialist Ibsenism beyond class ideology -- Reinventions of women and nation in Ibsen performances -- Ibsenism and ideology in Chinese playwriting -- Chinese Ibsenism in the politics of global literary reception -- Chinese translations and rewritings of Ibsen's works -- Chinese stage performances and film productions of Ibsen's plays.

"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." -- Baksida