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作 者:宋宁 魏建[1] SONG Ning;WEI Jian
出 处:《济南大学学报(社会科学版)》2022年第1期64-71,175,共9页Journal of University of Jinan:Social Science Edition
基 金:2017年度国家社科基金重大项目“中国近代文学期刊全文数据库建设与研究”(1872-1949)(项目编号:17ZDA276);2018年度四川省教育厅人文社科课题“郭沫若历史剧伦理因素研究”(项目编号:GY2018C07)之阶段性研究成果。
摘 要:20世纪40年代,郭沫若提出历史剧创作中"古今共通"的语言原则,既是对自己历史剧创作失败与成功的总结,也体现了在文艺大众化语境中的独特见解。相较于其他抗战历史剧,郭沫若对于《虎符》的修改主要集中在语言方面,可以从中探究其历史剧语言"古今共通"观念的形成,及相应的历史剧语言的创制和调整。一方面,在全面抗战背景下,郭沫若在历史剧创作中吸纳市民大众熟悉的"旧小说式的白话",成功地营造了"古代的幻象"。另一方面,从20世纪40年代到50年代的历史场域转换中,郭沫若侧重历史剧语言的当代性和规范化,使之符合"今语"的新要求。因此,郭沫若提出和实践的"古今共通",是一种动态的平衡,指引着历史剧语言不断创新。In the 1940 s,Guo Moruo put forward the language principle of"connecting the ancient and the modern"in the creation of historical dramas,which is not only a summary of his own failure and success in historical drama writing,but also reflects his unique views in the context of literature popularization.Compared with other historical dramas concerning the War Against Japanese Aggression,Guo Moruo’s revision of Tiger-shaped Tally is mainly focused on the language,from which we can explore the formation of the concept of"connecting the ancient and the modern"in the language of his historical dramas,and the creation and adjustment of the corresponding language of historical dramas.On the one hand,in the context of the nation’s total War Against Japanese Aggression,Guo Moruo absorbed the"old novel-style language"familiar to the public in his historical dramas,and successfully created an"ancient illusion".On the other hand,in the historical field transition from the 1940 s to the 1950 s,Guo Moruo focused on the contemporariness and standardization of the language of historical dramas to make it meet the new requirements of"Modern Language".Therefore,Guo Moruo’s"connecting the ancient and the modern"is a dynamic balance that guides the continuous innovation of the language of historical dramas.
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