《伤逝》和《群鬼》的文化批判  

The Cultural Criticism on "Past" and "Ghosts"

作　　者：陈玲玲[1] 

机构地区：[1]上海交通大学人文学院,上海200240

出　　处：《湖南大学学报（社会科学版）》2009年第6期85-88,共4页Journal of Hunan University(Social Sciences)

基　　金：2009年上海市浦江人才计划:近代以来上海与日本在文化上的互动与影响(09PJC030)

摘　　要：鲁迅的《伤逝》受到易卜生《玩偶之家》的影响是显而易见的,但是这个作品从艺术手法到思想内涵都和易卜生的《群鬼》有着耐人寻味的可比性。这两部作品都是通过婚姻家庭题材反映社会问题的现实主义作品,鲁迅和易卜生不约而同地将笔触深入到问题背后。探寻其文化根源,两部作品都有丰富的文化内涵,《伤逝》可以回溯到唐代元稹《遣悲怀》及《莺莺传》,《群鬼》则涵盖了欧洲文化内部诸般的对抗冲突。鲁迅和易卜生各自通过作品对本民族的文化进行深刻而有力的批判。It is explicit that there is influence in Lu Xun＇s ＂Past＂ from Ihsen＇s ＂A Doll＇s House＂, but there is more comparability between the ＂Past＂ and Ibsen＇s ＂Ghosts＂. They are both realist works, which tell the story of family, love, reflect social problem. Both Lu Xun and Ibsen focused on cultural sources hidden beneath the problem. Both two works are full of rich cultural meaning, the ＂Past＂ can be compared with Tang Dynast Yuanzhen＇s ＂Venting My Sorrow＂ and ＂the Story of Ying Ying＂, and the ＂Ghosts＂ have coved various conflicts within European culture. Lu Xun and Ibsen deeply criticized traditional culture of themselves through their works.

关 键 词：文化批判 鲁迅 易卜生 《伤逝》 《群鬼》 

分 类 号：I206[文学—中国文学]