被遮蔽的“启蒙”话语:论赵清阁的战时改译剧  

The Defiladed Discourse of“Enlightenment”:Research on Zhao Qing-ge’s Adapted Plays during the National War

作　　者：朱佳宁 ZHU Jia-ning

机构地区：[1]西安电子科技大学人文学院

出　　处：《戏剧艺术》2023年第5期27-38,共12页Theatre Arts

基　　金：国家社科基金青年项目“汉译俄苏文学与共和国文学的生成研究”(20CZW056)的阶段性成果。

摘　　要：1941—1943年间,赵清阁集中发表了《生死恋》《活》和《此恨绵绵》三部改译剧,改编力度之大,几乎可视为独创性作品。因三部剧本均为爱情主题,且显示出鲜明的“为抗战服务”倾向,研究界惯用“抗战+恋爱”的公式来概括其写作模式,却忽略了其中关于启蒙问题的复杂书写。在这三部改译剧中,赵清阁集中关注了新女性的精神困境,并提出“自救”和“互助”两条解决路径。同时,她还敏锐地书写了战争语境下启蒙主体的转换与知识分子的尴尬退场,呈现出抗战文学的复杂面目。From 1941 to 1943,Zhao Qing-ge adapted three foreign plays:Angelo,Le sens de la mort,and Wuthering Heights.The plays were completely rewritten and can therefore be regarded as the author's own creation.The three love-centred plays share a strong tendency to“serve the War of Resistance Against Japanese Aggression”.For this reason,Zhao Qing-ge's mode of writing is considered to be“war plus love”,which ignores the author's complex reflection on enlightenment.In fact,Zhao Qing-ge focused on the spiritual predicament of new women in her plays,and offered two ways out of the predicament:“self-help”and“mutual-help”.Her works also show the implicit transformation of the enlightenment subjects and the awkward exit of intellectuals in the context of war,presenting the complex features of anti-Japanese war literature.

关 键 词：赵清阁 改译剧 新女性 启蒙主体 

分 类 号：J80[艺术—戏剧戏曲]