WEN-LING LIN2022-11-112022-11-1120080907676Xhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-67650882704&doi=10.1080%2f13670050802469392&partnerID=40&md5=a3c128bfb451dfb85d9c70b66000219dhttps://scholars.lib.ntu.edu.tw/handle/123456789/625003This article examines the three most important translations of Ibsen's A Doll House in Taiwan. It first explores to what degree the translations are determined by extratextual factors, such as the cultural and social climate of the times and the publication strategies. The second part, building upon previous literature on the translation of Ibsen into English, draws attention to the nuances and styles of the language in the original text and examines how they are tackled in these Chinese translations. Whenever it is possible, potential solutions to specific translation problems are suggested. In addition to providing a springboard for future Chinese translators of A Doll House, this paper aims to demonstrate Ibsen's dramatic art, which is much imbedded in his distinctive use of the vernacular language.© 2009 Taylor & Francis.Chinese; Content; Ibsen; Taiwan; Translating style; Translation criticism[SDGs]SDG13journal article10.1080/136700508024693922-s2.0-67650882704