丑角、看客与孤独者的悲喜剧——鲁迅与穆时英笔下的丑角形象之比较  

The Tragicomedy of Clowns,Spectators and Loners——A comparison of the clowns in the works of Lu Xun and Mu Shiying

作　　者：杨程[1] YANG Cheng(Hebei Academy of Social Sciences, Shijiazhuang 050051,China)

机构地区：[1]河北省社会科学院语言文学研究所,河北石家庄050051

出　　处：《南华大学学报（社会科学版）》2021年第6期12-18,共7页Journal of University of South China(Social Science Edition)

基　　金：国家社会科学基金青年项目“新感觉派的身体审美与生命意识研究”资助(编号:16CZW060)。

摘　　要：鲁迅与穆时英笔下都塑造过一系列具有丑角特质的形象。不同的是,穆时英笔下的丑角具有自觉性,以小丑身份为面具,掩盖自己的孤独与恐惧;鲁迅笔下的丑角多是非自觉的,他们认真地践行着自己的人生理念,却因其与周遭环境格格不入,被人当作小丑、疯子。从中折射出两位作家迥异的生命观,穆时英从个体角度出发,写出了都市人在悲哀的脸上戴了快乐面具的无奈,对丑角表演持拥抱态度;鲁迅则从批判国民性的宏观角度出发,敏锐地意识到了丑角表演背后的隐忧,对其持拒斥的姿态。Lu Xun and Mu Shiying have created a series of images with the characteristics of clowns.The difference is that the characters in Mu Shiying’s works are self-conscious and use clowns as masks to cover up their loneliness and fear.While,in Lu Xun’s works,most of the clowns are involuntarily.They practice their life philosophy seriously,however,are regarded as clowns and lunatics because they are incompatible with the surrounding environment.From an individual point of view,Mu Shiying describes the helplessness of urban people wearing a happy mask on their sad faces,and embraces the clowns’performances.On the other hand,Lu Xun,from the macroscopic view of criticizing this national character,was keenly aware of the hidden worries behind the clowns’performances and held the attitude of rejecting them.

关 键 词：鲁迅 穆时英 丑角 表演 

分 类 号：I207.42[文学—中国文学]