When Henrik Ibsen initiated his series of contemporary prose plays, he did so with a stage design where people are ‘doing their shopping at a little shop on the corner’ in the street behind Karsten Bernick’s stately house and garden, while the plot in Pillars of the Community revolves around the consul’s engagement in more complex and speculative business ventures (Ibsen 2016, 3). Next, Ibsen establishes A Doll’s House by describing it as a ‘comfortable and tastefully, though not expensively, furnished room,’ where Nora from the outset squanders the porter’s gratuity while her banker husband, Helmer, cautions her about careful spending (NPI, 107). These examples indicate how economic motifs are launched early on in Ibsen’s problem plays, and throughout the plays the motifs are further developed and added to. Pillars of the Community revolves around investments and speculation, insurance, and business ethics, and it depicts a globalized economy based on steam power, electric communication, and daily printed news. At the heart of the gender and family issues in A Doll’s House, we find questions of economic responsibility and dependency, financial law, forgery, and modern banking. Hence, one might claim that in all of the institutional, ideological, and relational problems raised, the common denominator of the plays is motifs of economy and money. Ibsen’s dealings with economic matters are hardly surprising, as the ‘Modern Breakthrough’ in Scandinavian literature certainly

中文翻译：

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空间和时间的经济延伸：社区支柱和玩偶之家的中介价值

当亨利克·易卜生开始创作他的当代散文剧系列时，他的舞台设计是人们在卡斯滕·伯尼克 (Karsten Bernick) 庄严的房子和花园后面的街道上“在街角的一家小商店购物”，而《支柱》中的情节社区围绕领事参与更复杂和投机的商业活动（Ibsen 2016, 3）。接下来，易卜生建立了一个玩偶之家，将其描述为“舒适且有品位但不昂贵的家具房间”，诺拉从一开始就挥霍了搬运工的小费，而她的银行家丈夫赫尔默则告诫她要谨慎消费（NPI，107 ）。这些例子表明，经济主题是如何在易卜生的问题剧中很早就出现的，并且在整个剧中，这些主题得到了进一步的发展和补充。Pillars of the Community 围绕投资和投机、保险和商业道德展开，描绘了基于蒸汽动力、电力通信和每日印刷新闻的全球化经济。在《玩偶之家》中，性别和家庭问题的核心是经济责任和依赖、金融法、伪造和现代银行业等问题。因此，有人可能会声称，在提出的所有制度、意识形态和关系问题中，戏剧的共同点是经济和金钱的母题。易卜生对经济问题的处理并不令人惊讶，因为斯堪的纳维亚文学中的“现代突破”无疑是 在《玩偶之家》中，性别和家庭问题的核心是经济责任和依赖、金融法、伪造和现代银行业等问题。因此，有人可能会声称，在提出的所有制度、意识形态和关系问题中，戏剧的共同点是经济和金钱的母题。易卜生对经济问题的处理并不令人惊讶，因为斯堪的纳维亚文学中的“现代突破”无疑是 在《玩偶之家》中，性别和家庭问题的核心是经济责任和依赖、金融法、伪造和现代银行业等问题。因此，有人可能会声称，在提出的所有制度、意识形态和关系问题中，戏剧的共同点是经济和金钱的母题。易卜生对经济问题的处理并不令人惊讶，因为斯堪的纳维亚文学中的“现代突破”无疑是