话语、叙述与历史记忆——近代无锡滩簧形象建构与自我救赎(1840-1935)  

Discourse,Narration and Historical Memory——the Image Construction and Self-salvation of Wuxi Tanhuang in Modern Times(1840-1935)

作　　者：洪煜[1] 刘永广[1] 

机构地区：[1]上海师范大学人文与传播学院,上海200234

出　　处：《江南大学学报（人文社会科学版）》2015年第1期23-34,63,共13页Journal of Jiangnan University：Humanities & Social Sciences Edition

摘　　要：晚清地方文本中有关滩簧的话语叙述,成为滩簧最早的原罪,后来的大众舆论媒介——报刊,继承了官方话语模式与叙述策略,建构出滩簧的负面形象。演滩簧,看滩簧,成为一种社会病态的隐喻与象征,以至民众谈"簧"色变。为此,滩簧曲艺多次改易名目演出。在1935年禁演滩簧风波中,官方利用报刊发起对滩簧的舆论围剿,地方艺人为了缓解来自官方的压制,被迫进行改良,改良新剧《克宝桥》试演大获成功,滩簧曲艺的社会教育功能获得官方认可,滩簧改名无锡文戏,从而实现了自我救赎。双方的互动角力既重塑了文化精英对滩簧戏曲文化社会价值的认识,也反映出三十年代无锡滩簧改良契合了当时民族主义运动的政治文化需要。It is the discourse narration about Tanhuang that made Tanhuang become the earliest original sin in the local text of late Qing Dynasty.The subsequent mass media-newspapers inherited the official discourse mode and narrative strategy,which constructed the negative image of Tanhuang.Playing Tanhuang as well as watching Tanhuang become a metaphor and symbol of social morbidity,so that people become pale even at the mention of Tanhuang.Consequently,the name was often changed when Tanhuang（Chinese folk art form）was played.The official began to prohibit Tanhang and round up it by newspapers in 1935.To ease the pressure from official,local actor had to improve Tanhuang.The performance of improved Tanhuang Ke Bao Qiao was a major success.Then the social education function of Tanhuang was approved by official.Tanhuang was renamed as Wuxi Wenxi,so as to realize its self-salvation.The trial of strength between two sides not only remodeled cultural elites＇ cognition of social value made by Tanhuang,but also reflected that the improvement of Tanhuang in 1930 smet the political and cultural needs in the nationalist movement.

关 键 词：无锡滩簧 历史记忆 形象建构 自我救赎 

分 类 号：G122[文化科学]