《“娜拉”在中国》内容简介

　　娜拉，易卜生笔下《玩偶之家》的主人公。她本是一名家庭主妇，为救丈夫不惜伪造文书，却只换来丈夫的辱骂。她意识到自己只是一个玩偶，最终毅然决然离开家庭。

　　20世纪初，《玩偶之家》传入中国，娜拉以其反抗与自立精神鼓舞了许多中国女性走出传统、寻求独立。然而，她也被各种男性本位的大叙事利用，来塑造符合其自身利益的新女性形象。

　　为了深入思考这种现象，本书首次系统梳理了“娜拉”在近代中国传播与演变的历史，剖析中国女性解放思想与变动不居的社会现实之间的复杂关系：清末民初，以救亡图存为宗旨的国族自强大叙事，虽然致力于让女性冲出礼教传统，却优先强调她们强国保种、贡献社会的责任。五四时期，追求个性解放的新文化运动开启了启蒙觉醒大叙事，呼吁女性过独立生活，却忽视她们特有的经验与视角。20世纪20—30年代，以发扬西方恋爱观为主的自由婚恋大叙事，鼓励女性反抗包办婚姻，却未能提供解放她们的社会条件。北伐后到抗战前，由国共两党主导的妇女运动将女性解放融入国家大业，以解放平权大叙事号召女性投身革命、奉献自我。

　　一百年来，中国女性得到了很大程度的解放，但话语权始终没有掌握在她们手中。她们仍要压抑个性化的性别诉求，走一条男性引导的路，同时还要面对男性及社会的种种不公平对待。这正是中国女性所面临并依然有待解决的困境。

　　作者简介

　　许慧琦，美国约翰霍普金斯大学历史学系博士，台湾政治大学历史学系副教授，研究专长为为近代跨国史、近代美国史、近代中外社会文化史、妇女史、性别与性欲史、民国史。代表作有EmmaGoldman,"MotherEarth,"andtheAnarchistAwakening、《故都新貌：迁都后到抗战前的北平城市消费（1928—1937）》、《“娜拉”在中国：新女性形象的塑造及其演变，1900-1930年代》等。

　　

"Nora" in China "content introduction

Nora, the protagonist of Ibsen's A Doll's House. She is a housewife, in order to save her husband at the expense of forging documents, but only in exchange for her husband's abuse. She realizes that she is just a doll and finally leaves the family.

At the beginning of the 20th century, "Doll's House" was introduced to China, and Nora's spirit of resistance and self-reliance inspired many Chinese women to step out of tradition and seek independence. However, she has also been used by various male-centered grand narratives to shape new female images that suit their own interests.

In order to think deeply about this phenomenon, this book systematically combs the history of the spread and evolution of "Nala" in modern China for the first time, and analyzes the complex relationship between Chinese women's liberation thought and the changing social reality: At the end of the Qing Dynasty and the beginning of the Republic of China, although the national self-improvement narrative aimed at saving the nation and survival was devoted to letting women break out of the ritual tradition, it gave priority to emphasizing their responsibility to preserve the nation and contribute to society. During the May Fourth Period, the new cultural movement, which pursued individual liberation, opened the great narrative of enlightenment and awakening, calling on women to live an independent life, but ignoring their unique experience and perspective. In the 1920s and 1930s, the narrative of free marriage, which mainly promoted the Western concept of love, encouraged women to resist arranged marriage, but failed to provide social conditions for their liberation. From the Northern Expedition to the Anti-Japanese War, the women's movement led by the Kuomintang and the Communist Party integrated women's liberation into the national cause, and called on women to join the revolution and dedicate themselves with the narrative of liberation and equality.

In the past 100 years, Chinese women have been liberated to a large extent, but the right to speak has not been in their hands. They still have to suppress personalized gender demands, walk a male-led road, and face all kinds of unfair treatment from men and society. This is the dilemma that Chinese women face and still need to solve.

About the author

Xu Huiqi, Ph.D., Department of History, Johns Hopkins University, USA, and Associate Professor, Department of History, National Chengchi University, Taiwan. Her research specialties include modern transnational history, modern American history, modern Chinese and foreign social and cultural history, women's history, gender and sexual history, and history of the people and the nation. His masterpieces include EmmaGoldman,"MotherEarth,"andtheAnarchistAwakening," Old Capital New Appearance: Urban Consumption in Peiping After the Relocation of the Capital to Beijing before the Anti-Japanese War (1928-1937)," Nala "in China: The Making and Evolution of the New Female Image, 1900-1930s.