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奠定曹禺在我国现代戏剧史上不朽地位的主要是他的悲剧作品。1937年后,在国事和家事的双重影响下,曹禺的现代性立场发生了位移:由审美现代性向启蒙现代性转变。在悲剧观念方面,国家危亡、匡扶正义等宏大主题成为作家的主要表达对象,同时一反过去的评价人物的“非道德”立场,转而从道德立场来臧否人物。值得肯定的是,在发生上述转向的同时,曹禺始终坚守着,与官方意识形态相疏离的民间立场,保持了一个知识分子应有的独立品格。
It is his tragedy mainly to establish Cao Yu’s immortal status in the history of modern Chinese drama. After 1937, under the double influence of state and family affairs, Cao Yu’s modernity position shifted: from the aesthetic modernity to the enlightenment modernity. On the tragedy concept, the grand theme of national crisis and justice has become the main expression object of writers. At the same time, contrary to the “non-morality” position of evaluating the characters in the past, the author has instead turned to moral characters. What is worth to be sure is that at the same time of the above turn, Cao Yu has always adhered to his position of being alienated from the official ideology and has maintained the due independence character of an intellectual.