“闲人”的“忧郁”——过士行《鸟人》剧作的审美现代性  

The“Melancholia”of the“Idlers”:Aesthetic Modernity of the Play Bird Men by Guo Shixing

作　　者：朱玉杰 Yujie ZHU(Zhejiang University)

机构地区：[1]浙江大学

出　　处：《马克思主义美学研究》2023年第2期357-365,488-489,共11页Research on Marxist Aesthetics

基　　金：浙江省哲学社会科学规划优势特色学科重大项目“马克思主义美学史的理论研究”(22YSXK01ZD)阶段性成果

摘　　要：过士行的《鸟人》是中国20世纪90年代的代表性戏剧作品,他在这一剧作中创造了一个“闲人”的世界。“闲人”形象虽然是从中国传统中拈出,但过士行笔下的“闲人”则是现代化的产物。与中国传统中“闲”的私人性与本真性相比,过士行笔下的“闲”是对消费社会的一种抵抗和再现。过士行的创作是一种寓言化的创作。弗洛伊德最早将“忧郁”与现代性的“失落”体验相联系,本雅明则将“忧郁”视为一种星座化的记忆实践。文章从审美现代性的角度,认为过士行剧作中的“闲人”具有一种“忧郁”的精神特质。这种“忧郁”是在现代化进程中失去所爱之物(理想)后的偏执恋物与固守传统。对“忧郁”的书写体现了过士行对早期中国社会现代性的反思。In his play Bird Men,a representative work of Chinese theatre in the 1990s,Guo Shixing created a leisure world.Although the image of the“idlers”is taken from Chinese tradition,the“idlers”in Guo Shixing’s play is a product of modernization.In contrast to the private and authentic nature of the“idleness”in the Chinese tradition,the“idleness”in his writing is a resistance to and a reproduction of the consumer society.The work of Guo Shixing is an allegorical creation.Freud first associated melancholia with the loss experience of modernity,while Benjamin saw melancholia as a constellation of memory practices.From the perspective of aesthetic modernity,the essay argues that the“idles”in the play of Guo Shixing has a“melancholia”spiritual quality.This melancholia is the result of paranoid fetishism and clinging to tradition after losing what they love(the ideal)in the process of modernization.The writing of this melancholia is a reflection on the modernity of early Chinese society.

关 键 词：闲人 忧郁 《鸟人》 现代性 寓言 

分 类 号：I207.3[文学—中国文学]