面对“新的迷信”束缚的挣扎与反抗——《胆剑篇》新论  

The Struggle and Resistance against "New Superstition"——A New Discussion on Gall and Sword

作　　者：温潘亚[1] 

机构地区：[1]盐城师范学院,江苏盐城224002

出　　处：《盐城师范学院学报（人文社会科学版）》2008年第4期35-41,共7页Journal of Yancheng Teachers University（Humanities & Social Sciences Edition)

基　　金：中国第40批博士后科学基金项目(20060400924);江苏省博士后科研资助计划项目(0701029C);江苏省教育厅哲学社会科学基金指导项目(05SJD750015)

摘　　要：《胆剑篇》是60年代初我国戏剧舞台上众多"卧薪尝胆"戏中唯一的一部话剧,倾注了曹禺大量的心血。但如果用经典文学的标准衡量,《胆剑篇》则存在着种种"破碎性",这是由周总理所说的"新的迷信",也就是"理胜于情"的束缚造成的。其形成原因比较复杂,还使得史剧家的创作个性与自我不断丧失。由于语言的探索尚不会触犯当时的各种创作禁忌,这就成为曹禺在创作时努力冲破束缚的一个突破口,也使得曹禺被压抑已久的内在"自我"通过语言的探索得到了一定的复归。Gall and Sword is one opera created from the legend metaphoric story meaning "to endure hardships to accomplish some ambition".The author Cao Yu devoted all to the creation of the play,nevertheless,from the classical literary standard,the play has all kind of "fragmentation",or "new superstition" named by Premier Zhou,which was caused by " sense overwhelming sensibility".The reason behind this "new superstition" is very complicated.A lot of playwrights lost their creative motive and inner self.The language ...

关 键 词：曹禺 《胆剑篇》 “新的迷信” “理胜于情” “破碎性” 语言探索 

分 类 号：I207.34[文学—中国文学]