“人的现代化”是五四新文化运动最深层的目标，新青年们借助话语和社会实践试图摆脱一系列传统的压迫结构，成为并召唤现代主体。挪威剧作家易卜生剧作《玩偶之家》的主人公（A Doll’s House）娜拉（Nora）此时恰逢其会地进入新青年们的视野之中，从来自西方的文化他者演变为中国语境中现代主体的范本。在这一过程中，胡适是中国第一次“娜拉热”当之无愧的引领者。

本文的研究对象是胡适的“娜拉言说”，指的是胡适针对“娜拉”这一形象进行的译介、阐释和二次创作。胡适在留学美国期间与韦莲司的通信中已有“娜拉言说”的痕迹；回国后在《新青年》杂志上刊登的文章与作品使其成为易卜生中国接受史上的初始人物；到了20-30年代，胡适的“娜拉言说”仍有余韵，但后期渐趋消泯。第一次“娜拉热”中占据话语主导的胡适，为何会在30年代第二次关于娜拉的讨论热潮中不置一词，这背后牵系着现代主体在中国遭遇的困境。本文便试图通过对胡适“娜拉言说”的梳理，并结合胡适在公共和私人领域的个体经历，探讨胡适“娜拉言说”的演变的原因，并还原其时代、文化、社会语境。

本文由绪论、正文三章及结语构成。绪论部分交代了选题依据和研究思路，勾勒了胡适“娜拉言说”演变的基本脉络和时代背景，并对相关文献资料、研究成果进行了综述。第一章聚焦于五四时期胡适“娜拉言说”的文本，第一节分析胡适如何通过“娜拉言说”实现树立现代意义上的个人主体、性别主体的意图，以及如何在二者之间搭建桥梁；第二节探讨自二十年代末期救亡需求压倒启蒙起，作为五四遗产的“娜拉言说”如何被左右两翼话语收编与改造，以及双方如何在具体意识形态指导下与胡适“娜拉言说”进行对话。第二章重点关注胡适创作的“娜拉剧”《终身大事》，第一节回应学界对该剧是对《玩偶之家》“误读”的论断，指出其与易卜生作品内在的一致性；第二节通过文本细读阐释该剧如何以“写实派”的方式展现出中国语境下现代主体的过渡性表征；第三节考察胡适如何借助《终身大事》与现实互动，一方面暗示当时知识界话语与行为的错位，另一方面召唤青年们发扬主体性。第三章着眼于胡适在个人生活中与“中国娜拉”们的交集，分析胡适亲身见证的中国女性在成为主体时遭遇的现实困境，及其如何与胡适的“娜拉言说”相交缠。

The research object of this paper is Hu Shi's discourse of Nora, which refers to Hu Shi's translation, interpretation and secondary creation of the image of Nora, the main character of the Norwegian playwright Ibsen’s work A Doll’s House. Hu Shi’s correspondence with Edith Williams during his study in the United States was his very first discourse on Nora; after returning to China, the articles and works published in the magazine ＂New Youth＂ make him the initial figure in the history of the acceptance of Ibsen’s works in China. In the 1920s and 1930s, Hu Shi's was still making comments on Nora, but he gradually turned silent in the later period. Why did Hu Shi, who dominated the discourse in the first "Nora compulsion", not say a word in the second upsurge of discussions about Nora in the 1930s? Behind this is the dilemma encountered by modern subjects in China. This article attempts to explore the reasons behind the evolution of Hu Shi's discourse on Nora and restore its cultural and social context.

This thesis contains an introduction, three main chapters and a conclusion. The introduction explains the basis of topic selection and research ideas and summarizes the relevant literature and research results. The first chapter focuses on the text of Hu Shi's discourse on Nora during the May Fourth period. The first section analyzes how Hu Shi achieved the intention of establishing the individual subject and gender subject; The second section explores how discourse on Nora as a legacy of the May Fourth Movement was codified and transformed by the discourses of left and right wing since the late 1920s, and how both parties, under the guidance of specific ideologies and interacted with Hu Shi’s discourse on Nora. The second chapter focuses on Hu Shi's "Nora Play" Life’s Greatest Event. The first section responds to the criticism saying that the play is a misreading of A Doll's House, pointing out that it is inherently consistent with Ibsen's original work; the second section explains how the play shows the transitional representation of the modern subject in the Chinese context in a realism way through a close reading of the text; the third section examines how Hu Shi interacts with reality through this play. The third chapter focuses on the interaction between Hu Shi and the "Chinese Noras" in his personal life, and analyzes the real difficulties encountered by Chinese women when they become the subjects, and how they are intertwined with Hu Shi's discourse on Nora.