郭沫若《郑成功》中的海洋书写及其“哲学意味”  

The Writing of the Sea and Its“Philosophical Implications”in Guo Moruo’s Screen Play Zheng Chenggong

作　　者：寇淑婷 KOU Shu-ting(The College of Literature and Journalism,Sichuan University,Chengdu,Sichuan 610065,China)

机构地区：[1]四川大学文学与新闻学院,四川成都610065

出　　处：《河北民族师范学院学报》2022年第2期87-93,共7页Journal of Hebei Normal University For Nationalities

基　　金：2019年度国家社科基金重大项目“东方古代文艺理论重要范畴、话语体系研究与资料整理”(19ZDA289)阶段性成果。

摘　　要：郭沫若在日本的海洋体验对其电影剧本《郑成功》的创作产生了重要影响。从《郑成功》中对“海战”“通洋裕国”“收复和开发海岛台湾”等一系列海洋书写可知,该剧是海洋文学的典范之作。郭沫若对郑成功作为海洋英雄的文学再现正是其创作该剧的所谓“历史的兴趣”,亦即“哲学意味”之所在,这也是其独特的审美眼光和超越时代的海洋精神的外在表达。Guo Moruo’s experience in Japan had an important influence on the creation of his screenplay Zheng Chenggong.The play is an exemplary piece of maritime literature,as evidenced by the series of maritime writings,such as“Battles of the Sea”,“Sea Trade to Enrich the Nation”,and“The Recovery and Development of Taiwan”.Guo Moruo’s literary recreation of Zheng Chenggong as a maritime hero is the so-called“historical interest”,or“philosophical implication”,which is also the outward expression of his unique aesthetic vision and maritime spirit that transcends the times.

关 键 词：郭沫若 《郑成功》 海洋文学 海洋英雄 哲学意味 

分 类 号：I206.7[文学—中国文学]