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作 者:黄静枫 Huang Jingfeng
机构地区:[1]上海戏剧学院戏剧文学系
出 处:《戏剧(中央戏剧学院学报)》2022年第1期148-161,共14页Drama:The Journal of the Central Academy of Drama
基 金:教育部哲学社会科学研究重大课题攻关项目“中国特色戏剧学学科建设研究”(项目编号:19JZD035)的阶段性成果。
摘 要:"十七年"时期,戏曲史学人集体尝试运用"中国化"马克思主义批评法,考察古代戏曲作家、作品的政治意蕴,对它们进行"政治认证",完成价值评估。这一"以今逆古"学术实践的具体操作主要有三种:联系作家阶级属性阐发作品政治意图;揭示作品所寄托的作家政治动机;基于"反映论"肯定作品的客观"暴露"意义。遗憾的是,很多讨论缺少必备的论证环节、逻辑断裂,为历史研究抹上了浓厚的世俗色彩。唯政治标准指导下的上述操作虽然不甚可取,但尝试本身也为戏曲史学带来了"新意"。它使得动机、立场和思想的考察出现在研究中。相比民国,作家基本信息的钩沉广泛转变为主体内在的探索,而作品声律辨析和风格鉴赏则基本被政治意蕴发掘所取代。During the Seventeen-Year period(1949-1966), Chinese opera historians collectively attempted to apply Chinese Marxist criticism to examine the political implications of ancient opera works and their writers,the value of which were assessed after the "political identification". This academic practice of "revaluing the past with the present" was carried out in three ways: explaining the political intentions of the works with reference to the class nature of the writers;revealing the political motives of the writers underlying the works;and affirming the objective "exposure" of the work based on the reflection theory. However, many discussions have insufficient arguments and logical breaks, and they strongly secularized historical research.Although the practice guided by political criteria alone is not desirable, the attempt has brought new ideas to the Chinese opera history by allowing the examination of motives, positions and thoughts in research.Different from the Period of the Republic of China, when explorations of the basic information of authors were carried out, more focus was given on the authors’ inner subjects. Sound and rhythm analyses of the works and appreciation of styles were also replaced by the exploration of political implications.
关 键 词:“十七年” 戏曲史学 “中国化”马克思主义批评法 政治认证 逻辑断裂
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