新旧之间:郁达夫对戏曲的“接受”与“化用”  

Between Modernity and Tradition:On Yu Dafu’s“Acceptance”and“Application”of Chinese Opera

作　　者：刘文辉[1] LIU Wen-hui(School of Literature and Law,East China University of Technology,Nanchang 330105,China)

机构地区：[1]东华理工大学文法学院,江西南昌330105

出　　处：《南昌大学学报（人文社会科学版）》2020年第4期112-119,共8页Journal of Nanchang University(Humanities and Social Sciences)

基　　金：国家社会科学基金规划项目“二十世纪中国文学发展进程中的苏区经验研究”(15BZW148);江西省文化艺术科学规划重点项目“《牡丹亭》的现代接受史(1915—2018)”(YG20180761)。

摘　　要：郁达夫是五四时期一位具有复杂文化个性的作家。他一方面推崇现代文明,嘲弄旧道德,倡导新文化,积极探索现代的文学形式,扮演新文化战士的角色;另一方面又留恋传统文人趣味,沉迷于旧体诗词,流连戏园,结交名伶,品戏论曲,表现出旧式"名士"作风和"才子"气质。戏曲是郁达夫日常娱乐与交游的重要文化媒介,跨越传统的现代文人视角造就了他独特的戏曲观念和审美品位,对戏曲的迷恋折射出其复杂的精神面相。戏曲深刻影响了他的文学创作,对戏曲的"化用"丰富了其作品的审美意蕴。郁达夫以个性化的方式展现了现代文人与伶人、传统戏曲与现代文学之间的微妙互动,在中国文学的现代性历史进程中留下了独特的历史剪影。Yu Dafu is a writer with complex cultural personality during the May 4th movement.On the one hand,he respected modern civilization,ridiculed old morality,advocated new culture,actively explored modern literary forms,and played the role of a new cultural warrior;on the other hand,he was nostalgic for the traditional literati’s taste,indulged in the old style poetry,lingered in the opera garden,made friends with famous actors,and tasted opera and music,showing the old style“celebrity”style and“talent”temperament.Opera is an important cultural medium for Yu Dafu’s daily entertainment and friendship.His unique opera concept and aesthetic taste have been created from the perspective of traditional modern literati.His fascination with opera reflects his complex spiritual features.Opera has a profound impact on his literary creation,and the“application”of drama enriches the aesthetic connotation of his works.Yu Dafu shows the subtle interaction between modern literati and actors,traditional opera and modern literature in a personalized way,leaving a unique historical silhouette in the historical process of modernity of Chinese literature.

关 键 词：郁达夫 戏曲 接受 化用 

分 类 号：I206.6[文学—中国文学]