@article{oai:kobe-c.repo.nii.ac.jp:00005803,
 author = {南, コニー and MINAMI, Connie},
 issue = {35},
 journal = {女性学評論, Women's Studies Forum},
 month = {Mar},
 note = {ノルウェーの作家ヘンリック・イプセン（Henrik Ibsen, 1828-1906）の社会劇『人形の家』は1879年にデンマーク王立劇場で初演されて以来、約140年間にわたり世界の各地で上演されている。日本でも、1911年に当時の文芸協会会長だった坪内逍遥宅で公演されて以来、頻繁に上演され日本人に広く知られている。現在もこの作品に人々が惹きつけられている背景には、あのセンセーショナルな結末に人々が今もなお魅せられつづけているからかもしれない。本作は、女性解放問題だけでなく、人間としての在り方、自由と解放、個人と社会の関係など様々な要素が凝縮された作品でもある。本論では、これらの要素の基盤となっているイプセンの「人間精神の革命」に焦点をあて、原文を参照しながら考察したい。, Norwegian writer Henrik Ibsens’ (1828-1906) social drama "A Dolls’ House" has been performed around the world for about 140 years since it premiered at the Royal Danish Theater in 1879. Even in Japan, it has been performed frequently since it was first performed at Tsubouchi Shoyo’s residence, who was the chairman of the Literary Society at that time in 1911, and since then is has been widely known to the Japanese. The background that people are still attracted to this work may be that people are still fascinated by the sensational ending of Nora. However this work not only shows the issue of women’s liberation, but is also a condensed work of various elements such as identity, freedom and liberation, and the relationship between individuals and society. In this paper, I focus on Ibsen’s "Revolution of the Human Spirit" , which is the basis of these elements, and consider it with reference to the original text.},
 pages = {1--19},
 title = {『人形の家』における「人間精神の革命」について},
 year = {2021},
 yomi = {ミナミ, コニー}
}