寫實主義戲劇中的敘述策略：易卜生之《娃娃之家》的個案研究

According to Peter Brooks, a narratologist in the poststructuralist vein, the main
difference between structure and structuration is that the former is seen to be rigid and
static, while the latter focuses more on the fluid and active side of a narrative form.
In analyzing a text, Brooks maintains, it is more fruitful to pay attention to the
dynamic processes of narrative transformation. Taking cues from Brooks, this
research paper intends to show that the structure of Ibsen’s first realistic play, A Doll’s
House, is not as clear-cut as most scholars may have thought; it is in fact a hybrid in
which the form transforms from melodrama into a full-fledged realism. To a great
extent, the play goes through a process not unlike that of an exorcist ritual. The
conclusion of the paper, however, emphasizes that, though it may have shed the
theatrical trappings of melodrama, the parodic exorcism is incomplete since it still
operates in the mode of patriarchal typologies concerning the sexes.