左翼意识形态的规训与缺位——论夏衍剧作之二  

On the Disciplines and Shortcomings of Left-wing Ideology: The Second Commentary of Xia Yan's Drama Scripts

作　　者：黄科安[1] 

机构地区：[1]泉州师范学院文学与传播学院,福建泉州362000

出　　处：《湖南科技大学学报（社会科学版）》2014年第2期133-137,共5页Journal of Hunan University of Science and Technology(Social Science Edition)

基　　金：国家社会科学基金项目(04B2W056)

摘　　要：处在20世纪三四十年代,夏衍把戏剧艺术当成"抗战建国"最有力的武器,其左翼思想表现出来的"阶级意识"让位于"国家意识"和"民族意识"。而他带着这种思想倾向创作的抗战剧作,必然遭致后来50年代社会重视以"阶级意识"为主、呼唤塑造时代英雄的主流意识形态的批判和否定。During the 1930's and the 1940's,Xia Yan took the art of drama as the most powerful weapon for the anti-Japanese war and for the founding of the state,whose 'class consciousness'shown by the left-wing was subordinated to the 'state consciousness'and the 'national consciousness'. This kind of drama scripts of the anti-Japanese war inevitably suffered from being criticized and denied in the 1950's,during which time the society emphasized the main stream of the'class consciousness',and called for the shaping of the hero of the ages.

关 键 词：夏衍剧作 民族意识 阶级意识 意识形态内涵 

分 类 号：I207.3[文学—中国文学]