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作 者:周晓娣 ZHOU Xiao-di(School of Philosophy,Renmin University of China,Beijing 100872,China)
出 处:《辽东学院学报(社会科学版)》2024年第1期103-109,共7页Journal of Liaodong University:Social Science Edition
基 金:国家社会科学基金项目“近代以来中国社会形态的变化与崇高审美形态的嬗变研究”(21BZW188)。
摘 要:老舍小说《离婚》的第一重调性体现为张大哥所代表的常识与老李所代表的诗意,前者周旋于人情世故,后者则要求保有理想主义的追求。没有危机时,常识的生活庸俗但温情,诗意反而显得空幻;危机一旦发生,常识的生活便暴露出弊病,而诗意的生活则呈现出革命性。但诗意的革命性根源于虚无,切实改善现实则需要决断与行动,从而出现了第二重调性,即诗意的革命与行动的革命。《离婚》中的“革命青年”马克同与边缘人丁二爷,前者自诩革命者而不革命,后者不符合革命者形象却做出了真正的革命行动。但《离婚》并没有止步于此,老李与丁二爷隐遁乡村成了第三重调性,构成了对前两种调性的否定。在重重否定中,《离婚》以诙谐的语调勾勒了悲凉的精神群像。The first keynote in Divorce is reflected in the common sense represented by Brother Zhang and the poetry represented by Lao Li.The former is worldly while the latter requires the pursuit of idealism.When there is no crisis,the life of common sense is vulgar but warm,and the poetry is empty;once the crisis occurs,the common sense of life will expose the ills,while the poetic life is revolutionary.However,the revolutionary nature of poetry is rooted in nothingness,and the practical improvement of reality requires determination and action,so there is a second keynote,that is,the revolution of poetry and the revolution of action.This is manifested in Divorce as“revolutionary youth”Ma Ketong and marginal man Second Master Ding.The former calls himself a revolutionist but not participates in revolution,while the latter does not conform to the image of a revolutionist but performs revolutionary acts.However,Divorce did not stop here.Lao Li and Second Master Ding’s seclusion in the countryside became the third keynote,which negates the first two.In the repeated negation,Divorce outlines the extremely sad spiritual images in a witty tone.
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