Women writers from the peripheries and semiperipheries of Europe who participated in the metropolitan melting pots of new ideas at the fin de siècle are often marginalized or excluded in historiographical accounts, making their contributions to a European cultural heritage invisible.1 This marginalization, shared by numerous women playwrights and artists, prompts the need to explore ways of providing a fair account of their contributions. Swedish playwright Anne Charlotte Leffler (1849–92) was one of these women who set out on a European journey to try her luck with an international career. In this essay I explore her contribution to the late nineteenth-century London avant-garde with her play Sanna kvinnor (1883) [True Women, 1892].2 The application of any quantitative method, or those that rely solely on the translation, staging, publication, and reviews of actual plays, would likely obscure rather than illuminate the reception of her work. To contextualize the reception of Leffler’s play, it is necessary to adopt a theoretical perspective that integrates the political and the artistic, while also considering Leffler’s status as a foreign playwright in Britain. Furthermore, the pattern of reception requires theoretical conceptualization and evaluation in line with the social and cultural position of women at the time. In the case of Leffler, this conceptualization should consider the reception of her embodiment of the New Woman together with her contribution to theatre as part of the endeavors of a personal network marked by blurred boundaries between the private and the public, as well as between life, politics, and art.3

中文翻译：

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性别与国家作为象征性挑战：英国人对瑞典剧作家安妮·夏洛特·莱弗勒 （Anne Charlotte Leffler） 的《真实女性》的接受


来自欧洲边缘和半边缘地区的女性作家在世纪末参与了新思想的大熔炉，但在史学记载中往往被边缘化或被排除在外，使她们对欧洲文化遗产的贡献被忽视。许多女性剧作家和艺术家都面临着这种边缘化，这促使人们需要探索公平地描述她们贡献的方法。瑞典剧作家安妮·夏洛特·莱弗勒（Anne Charlotte Leffler，1849-92 年）是踏上欧洲之旅的女性之一，她在国际事业中碰碰运气。在这篇文章中，我通过她的戏剧 Sanna kvinnor （1883） [True Women， 1892] 探讨了她对 19 世纪晚期伦敦前卫艺术的贡献。任何定量方法的应用，或那些仅依赖于实际戏剧的翻译、舞台、出版和评论的方法，都可能掩盖而不是阐明对她作品的接受。为了将莱弗勒戏剧的接受置于语境中，有必要采用一种融合政治和艺术的理论视角，同时也要考虑莱弗勒作为英国外国剧作家的地位。此外，接受模式需要根据当时女性的社会和文化地位进行理论概念化和评估。就莱弗勒而言，这种概念化应该考虑对她对新女性化身的接受以及她对戏剧的贡献，作为个人网络努力的一部分，其标志是私人与公共之间以及生活、政治和艺术之间模糊的界限3。