传统文化的反思、改造与自新——从新文化运动两项文化遗产的百年实践看  

Rethinking,Reforming and Rejuvenating Traditional Culture:A Perspective from Hundred-Year Practice of the Two Cultural Heritages of the New Culture Movement

作　　者：张伯江 Zhang Bojiang

机构地区：[1]中国社会科学院文学研究所,研究员北京100732

出　　处：《中国文学批评》2018年第2期128-135,160,共9页Chinese Journal of Literary Criticism

摘　　要：百年前的新文化运动提出了一系列革命性的文化主张,首先是以白话文取代文言文,进而要破除一切固有的汉语文学艺术表现形式,以京剧为代表的传统戏曲也成了激进的文化进化论者的攻击对象。新文化运动所主张的白话文迅速取得了成功,而遭受舆论围剿的京剧却在其后的二三十年间迎来了艺术高峰。最近的半个多世纪以来戏曲理论上传统的迷失直接造成了艺术的萎缩,现代汉语在理论和实践两方面融通中西,得到了健康的发展。这一成一败的历史现实说明了一个道理,凡是植根于民众同时合理继承民族文化传统的形式都会获得生命力,而背离这种传统盲目追随西方规范的做法则必然给民族艺术形式健康的机体造成伤害。The New Culture Movement presented a series of revolutionary ideas on culture,such as the replacement of classical Chinese by vernacular Chinese,and getting rid of all traditional literary and artistic representations as well as that the traditional opera represented by Peking opera also became a target of attack of radical cultural evolutionist.The vernacular Chinese gained success in a short time,whereas the Peking opera that suffered public criticism also entered into a peak period 20 to 30 years later.For more than half a century,the loss and confusion of tradition in theatrical theory directly caused art to whither,whereas the modern Chinese language has devel-oped well by integrating Chinese and Western theories and practices.The historical reality of success and failure demonstrates that those artistic forms rooted in the people and with creative inheritance of national cultural tradition will gain vitality,whereas those practices that cut up the connection with tradition and follow the Western norms unthinkingly will inevitably harm national artistic forms.

关 键 词：白话文 京剧艺术 民族性 汉语语法 新文化观 

分 类 号：I01[文学—文学理论]