As literary scholars it is our profession to understand and interpret texts. We usually do this by reading them and then subsequently comparing them with other texts and analyzing those using established theories or contexts. As literary historians, however, we should also be able to detail their emergence, relate them to specific historical changes, and point to reasons for both their contemporary and later significance. Ibsen’s contemporary dramas are often read in light of Scandinavian literature’s Modern Breakthrough, and Ibsen is indeed the author from Georg Brandes’ book Det moderne g jennembruds Mænd [The Men of the Modern Breakthrough], published in 1883, who has since had the greatest success. But how do we understand or explain the success Ibsen eventually had with his contemporary dramas? When analyzing Ibsen, it must be emphasized that he wrote for two different markets; publishers aimed at selling books to a reading audience, and theaters aimed at selling tickets to an audience of spectators. These two markets followed their respective conventions and rules, which were often in conflict and changed significantly during Ibsen’s fifty years as a playwright. Of main concern were issues of copyright, provisions regarding honorariums or fees,

中文翻译：

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易卜生与现代突破——社会支柱、玩偶之家和鬼魂的最早作品

作为文学学者，理解和解释文本是我们的职业。我们通常通过阅读它们然后将它们与其他文本进行比较并使用已建立的理论或上下文来分析它们来做到这一点。然而，作为文学史家，我们也应该能够详细描述它们的出现，将它们与特定的历史变化联系起来，并指出它们在当代和后来的意义的原因。易卜生的当代戏剧经常根据斯堪的纳维亚文学的《现代突破》来阅读，而易卜生确实是乔治·布兰德斯 1883 年出版的 Det moderne g jennembruds Mænd [The Men of the Modern Breakthrough] 一书中的作者，此书此后取得了最大的成功. 但是我们如何理解或解释易卜生最终在他的当代戏剧中取得的成功？在分析易卜生时，必须强调的是，他为两个不同的市场写作；出版商旨在向阅读观众出售书籍，而剧院则旨在向观众出售门票。这两个市场遵循各自的惯例和规则，在易卜生担任剧作家的 50 年间经常发生冲突并发生了重大变化。主要关注的是版权问题、有关酬金或费用的规定、