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but it also served as a precursor to Chinese realism drama. There are numerous domestic study findings on Ibsen, and the pertinent comments have the following features. First off, Ibsen’s study in China from the turn of the 20th century to the establishment of New China was primarily introduction and commentary, with the research’s focus on mid-term societal issues. Second, domestic academic circles have been active in the study of Ibsen’s drama in three stages since the reform and opening up. There is a propensity to focus on his lyrical drama as much as the symbolic drama he wrote about later in his career. A Doll’s House served as the subject of this paper’s research, hence the research findings primarily relate to that piece. Ibsen’s research was fruitful; therefore, it would not be repeated here.

Chapter Two The Intertextuality of Character Images in The Greatest Event in Life and A Doll’s House

2.1 Masculinities in The Greatest Event in Life and A Doll’s House

Some people objected to the two plays’ clear imitational kinship. They have strong biases. Although they acknowledged Hu Shi’s literary quality, they also spoke on the importance of enlightenment philosophy throughout the unique period. However, others argue that Guo’s plays are crude and blunt, from the script structure to the character image, and that they are weak imitations of Ibsen’s original social themes, and hence cannot match the reputation. Nonetheless, it is indisputable that plays from many ethnic backgrounds have their own distinct aesthetics and values. At the moment, academic circles rarely evaluate the similarities and differences of characters from the theory of intertextuality and masculinity and investigate why, that is, Helmer and Mr. Tian’s conventional masculine images in the unique contexts of China and the West affect the personal maturation of Nora and Tian Yamei. As society develops, masculinity changes rapidly. Hence, the emergence of the masculine crisis also serves as a critical impetus for the transformation of gender relations. Nora resorted to society to re-educate herself and become a real person as the intricate shift of Helmer’s image before and after made her doubt the miracle she had been waiting for. The family’s head of household, who was unable to free himself from the constraints of feudal mentality, was unable to fulfill Tian Yamei’s dream of freedom in marriage and love and instead left a message urging everyone to follow their own pleasure. By contrasting the development of marginal and dominant masculinity roles in the two plays and the connection between their crises and the emergence of female consciousness, this chapter will examine the causes of women’s flight. 

2.2 Nora’s and Tian’s Social Status

The main female characters in The Greatest Event in Life are Tian Yamei and Tian mother, and the key female characters in A Doll’s House are Nora and Mrs. Linde. Since Hu shi launched Tian Yamei after a pioneer drama woman, triggered a new literature writers writing Nora type of female image, such as Zi Jun in Lu Xun’s Sorrow for The Past (1925), Zhuo Wenjun in Guo Moruo’s Zhuo Wenjun, Zeng Yuying in Xiong Foxi’s Life of a New Man (1921). Not only that, but in real life, there are new women of the live-action Nora type who are fighting for free will. These women acquire strength directly or indirectly from Tian Yamei. This perfectly exemplifies ho本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。