Sjolveg and Her Sisters – A Study on the Implicit Genealogy of Virtue-based Chinese Morality in Ibsen’s Plays
This paper
argues that, in Ibsen’s plays, there is an implicit genealogy of virtue-based Chinese morality formed by a few spiritually connected
characters; Solvejg (in Peer Gynt) is one of the most significant
characters. Rather a lonely being, she and her sisters have formed the branch of Ibsen’s main female characters, which I
refer to as the implicit genealogy of virtue-based Chinese
morality – Solvejg herself as the original ideal
of the Chinese moral, Nora (in Et Dukkehjem) and Beata (in Rosmersholm)
as her counterparts (motstykke), Hedda (in Hedda Gabler) as her opposite
(motsatt), and eventually, Rebecca (in Rosmersholm) as her potential
(potensiell) alter ego – respectively, they embody different facets of
Chinese moral thoughts and thus have revealed the ethic view of Ibsen’s plays
from three levels: thesis, antithesis, and synthesis. Ibsen’s ethic view
coincides with the traditional Chinese moral thoughts.
Sjolveg and Her Sisters – A Study on the Implicit Genealogy of Virtue-based Chinese Morality in Ibsen’s Plays.
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Sjolveg and Her Sisters – A Study on the Implicit Genealogy of Virtue-based Chinese Morality in Ibsen’s Plays.
Autori:
Yue
Wang
[1]
[1]
Arts School of Wuhan University
Rezumat
This paper
argues that, in Ibsen’s plays, there is an implicit genealogy of virtue-based Chinese morality formed by a few spiritually connected
characters; Solvejg (in Peer Gynt) is one of the most significant
characters. Rather a lonely being, she and her sisters have formed the branch of Ibsen’s main female characters, which I
refer to as the implicit genealogy of virtue-based Chinese
morality – Solvejg herself as the original ideal
of the Chinese moral, Nora (in Et Dukkehjem) and Beata (in Rosmersholm)
as her counterparts (motstykke), Hedda (in Hedda Gabler) as her opposite
(motsatt), and eventually, Rebecca (in Rosmersholm) as her potential
(potensiell) alter ego – respectively, they embody different facets of
Chinese moral thoughts and thus have revealed the ethic view of Ibsen’s plays
from three levels: thesis, antithesis, and synthesis. Ibsen’s ethic view
coincides with the traditional Chinese moral thoughts.
Cuvinte cheie:
Ibsen, Solvejg, genealogy, Chinese morality
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