关于张道藩剧本《自救》的评价问题  

On the Evaluation of Zhang Daofan's Play of Self-salvation

作　　者：秦弓[1] 

机构地区：[1]中国社会科学院文学研究所,北京100732

出　　处：《南都学坛（南阳师范学院人文社会科学学报）》2011年第4期66-70,共5页Academic Forum of Nandu:Journal of the Humanities and Social Sciences of Nanyang Normal University

摘　　要：张道藩由于政治身份的缘故,在中国现代文学史上素以负面角色登场。实际上,他也是一个留下四部创作剧本、并有翻译剧本的剧作家。四幕剧《自救》发表之后很快被搬上舞台,并引起热烈讨论,有对其反封建价值及其隐喻的民族自立意义的肯定,也有对其疏离民族危机、远离大众生活的批评。今天,回到20世纪30年代前期的历史背景来看,《自救》确有清浅的一面,但也不能否认其正面价值。关于张道藩《自救》剧本的评价,关系到如何准确把握现代文学复杂性的问题。Because of his political status, Zhang Daofan has always been a negative role in China＇ s modem literature history. Actually, he is a playwright with four plays and translated versions. Shortly after its publication, his four-scene play, Self-salvation is staged and causes hot discussion. Some acclaim its value and significance in opposing feudal traditon and advocating national independence. However, the others criticize it for its departing from national crisis and citizen＇ s life. Tracing hack to the historical background in the 1930s, we can find that Self-salvation is really superficial in some aspect, but on the other hand,we cannot ingore its positive value.Therefore, the evaluation of this playwrite is relevant to how to correctly evaluate the complexity of modern literature.

关 键 词：张道藩 剧本 《自救》 评价 

分 类 号：I206.7[文学—中国文学]