《沙家浜》阿庆嫂原型演变释读  

Interpretation of the Archetypal Evolution of A Qingsao in Sha Jiabang

作　　者：张均[1] ZHANG Jun(Department of Chinese Language and Literature,Sun Yat-sen University,Guangzhou 510275,China)

机构地区：[1]中山大学中文系,广东广州510275

出　　处：《东北师大学报（哲学社会科学版）》2025年第1期107-116,共10页Journal of Northeast Normal University(Philosophy and Social Science Edition)

基　　金：国家社会科学基金重大项目(21&ZD259)。

摘　　要：现代革命京剧《沙家浜》及其前身沪剧《芦荡火种》中的阿庆嫂形象,系从原型东来茶馆老板胡广兴改换性别而来。在如此“变性记”的背后,是社会主义现实主义与“大众之法”之间反复发生的龃龉、竞争与调适。其中,“新人叙事学”并未主导英雄的叙事建构,江湖风情、义气及“斗”之喜剧机制三重“大众之法”共同介入《芦荡火种》对原型人物的删改与虚构,《沙家浜》则以革命对“大众之法”予以双重再调适。阿庆嫂作为经典形象的形成,孕育了社会主义文艺在英雄叙述方面不可多得的艺术经验。The archetype of the image of A Qingsao in the modern revolutionary Peking Opera Sha Jiabang and its predecessor in the Shanghai Opera Lutang Fire is Hu Guangxing,the owner of the Donglai teahouse,who changed his gender.Behind the narrative of gender transformation is the repeated contradiction,competition and adaptation between socialist realism and the law of the masses.In fact,new man narratology does not dominate the narrative construction of heroes.The three law of the masses of Jianghu,loyalty and the comedy mechanism of fighting are involved in the deletion and fictionalization of the archetypal characters in Lutang Fire.Sha Jiabang readapts the law of the masses by revolution.The formation of A Qingsao as a classic image provides a rare artistic experience for the heroic narration of socialist literature and art.

关 键 词：《沙家浜》 阿庆嫂 江湖 

分 类 号：I207.4[文学—中国文学]