This decade’s first issue of Ibsen Studies dives into what Franco Moretti named the “core” of literary Europe, with three articles exploring conjunctions and interconnections between Ibsen and influential currents in Germany, France, and Britain—both before and after Ibsen’s lifetime. In “The Struggle for Existence: Ibsen’s The Wild Duck (1884),” Lisbeth Pettersen Wærp reads The Wild Duck in light of Darwin’s notions of domesticated diversity. Wærp broadens the metaphorical resonance of the loft by exploring its many constituents, that is all the animals, as well as books, furniture, and other objects. Contrary to much existing Ibsen scholarship, she argues that Ibsen does not equate domestication with degeneration. Rather, she sees the loft as “a value-neutral image of existential struggle under differing prevailing conditions” that, in turn, reflects the Ekdal and Werle families in the play. In other words, the article asks us to envision how the characters are embedded in a complex psychosocial force field. Martin Wåhlberg takes on a less frequently explored topic in “Diderot, Ibsen, and the Drame lyrique in Scandinavia.” The article expands upon previous work by Erik Østerud and Toril Moi, and traces how French writer and philosopher Denis Diderot (1713–1784) anticipates key elements of Ibsen’s drama. As Robert Weimann asserts regarding the practice of intertextuality, texts feed off each other in multiple ways. Wåhlberg does not argue that the relation and relevance of Diderot to Ibsen is a matter of direct influence; still, striking similarities emerge from Wåhlberg’s comparative analysis. He points out the mix between tragedy and comedy, prose plays, contemporary topics, domestic settings, and retrospective techniques, to name a few. Wåhlberg identifies Ibsen as Diderot’s heir, the “genius to realize the full potential of his dramatic reform.” The article thus contributes to an understanding of how French literature both circulated in

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前言

这十年的第一期《易卜生研究》深入探讨了佛朗哥·莫雷蒂所说的欧洲文学的“核心”，其中三篇文章探讨了易卜生与德国、法国和英国有影响力的潮流之间的联系和相互联系——无论是在易卜生生前还是生后。在“生存斗争：易卜生的野鸭”（1884 年）中，Lisbeth Pettersen Wærp 根据达尔文的驯化多样性概念解读了野鸭。Wærp 通过探索阁楼的许多组成部分，即所有的动物，以及书籍、家具和其他物品，拓宽了阁楼的隐喻共鸣。与现有的许多易卜生奖学金相反，她认为易卜生并不将驯化等同于退化。相反，她认为阁楼是“在不同的普遍条件下存在的斗争的价值中立形象”，反过来，在剧中反映了 Ekdal 和 Werle 家族。换句话说，文章要求我们设想角色如何嵌入复杂的心理社会力场中。马丁·沃尔伯格在“狄德罗、易卜生和斯堪的纳维亚的戏剧抒情曲”中探讨了一个不太常探讨的话题。这篇文章扩展了 Erik Østerud 和 Toril Moi 之前的工作，并追溯了法国作家和哲学家丹尼斯狄德罗（1713-1784）如何预测易卜生戏剧的关键元素。正如罗伯特·魏曼 (Robert Weimann) 关于互文性实践所断言的那样，文本以多种方式相互补充。沃尔伯格并不认为狄德罗与易卜生的关系和相关性是直接影响的问题；尽管如此，沃尔伯格的比较分析还是出现了惊人的相似之处。他指出了悲剧与喜剧、散文剧、当代话题之间的混合，国内环境和追溯技术，仅举几例。沃尔伯格认为易卜生是狄德罗的继承人，他是“能够充分发挥其戏剧性改革潜力的天才”。因此，这篇文章有助于了解法国文学是如何在