论郭沫若《女神》中“剧曲”的生成——以《三叶集》及相关史料为中心  

On Formation of“Drama”in Guo Moruo’s Goddess:Focusing on Three Leaves and Related Historical Materials

作　　者：宋宁 SONG Ning(School of Humanities, Journalism and Communication, Heze University, Heze, Shandong 274000, China)

机构地区：[1]菏泽学院人文与新闻传播学院,山东菏泽274000

出　　处：《宜宾学院学报》2021年第11期10-17,共8页Journal of Yibin University

基　　金：四川省教育厅人文社科项目“郭沫若历史剧伦理因素研究”(GY2018C07);山东省文化厅项目“抗战讽刺喜剧中的民族国家想象”(2014359)。

摘　　要：《女神》中的“剧曲”是郭沫若戏剧创作的起点,而以往研究大多受到郭沫若自述的左右,只看重其翻译歌德《浮士德》的影响,或者主要探究其诗性特征,而忽略其戏剧性。郭沫若、宗白华与田汉三人笔谈式的通信,涉及大量西方近代剧及日本有岛武郎的戏剧等,不仅催生郭沫若用戏剧表达社会问题,而且提供了象征形式的借镜。另外,约稿和媒介等文学外部因素也促使郭沫若采用“剧曲”,化用传统,传播新思想。The“drama”in Goddess was the starting point of Guo Moruo’s drama creation.However,most of the previous studies were influenced by Guo Moruo’s self-report,only focusing on the influence of his translation of Goethe’s Faust,or mainly exploring its poetic characteristics and ignoring the drama.Guo Moruo,Zong Baihua,and Tian Han’s three-person written communication involves a large number of modern Western dramas and Japanese dramas by Takero Arishima,etc.,which not only gave birth to Guo Moruo’s use of drama to express social problems,but also provided a reference to symbolic form.In addition,literary external factors such as manuscripts and media also urged Guo Moruo to use tradition and spread modern ideas by adopting“drama”.

关 键 词：郭沫若 女神 剧曲 三叶集 

分 类 号：I206.6[文学—中国文学]