论文部分内容阅读
(一) 在中国现代思想史、文艺史上,杰出的大师如鲁迅、郭沫若、茅盾、巴金、曹禺等,都敏感地意识到自己所肩负的运用文艺的武器去“改造国民性”、提高中华民族精神素质的神圣职责。但在他们创作期鼎盛的时代,可以运用的“文艺的武器”,或小说,或诗歌,或杂文,或戏剧。其覆盖面,一部书印上千册、万册、至多数十万册;一台戏剧,观众则恐怕更为有限。他们大约谁也未曾预料到,当历史跨入20世纪80年代以后,电视文艺在中国迅猛发展起来,一部如《新星》、《渴望》这样的长篇电视连续剧,居然可以凭借着进入社会和家庭的上亿台电视机在一个晚上就拥有数亿观众——这简直是世界文化鉴赏史上的奇观!
(1) In the history of modern Chinese thought and literature and art, outstanding masters such as Lu Xun, Guo Moruo, Mao Dun, Ba Jin, and Cao Yu are all sensitively aware of their use of literary and art weapons to “reform their national character” and raise the awareness of the Chinese nation Spiritual quality of the sacred duty. But in the age of their creative creations, “literary weapons,” or novels, or poems, or essays, or dramas can be used. Its coverage, a book printed in thousands, 10000, up to hundreds of thousands; a drama, the audience is probably more limited. No one of them predicted that when history entered the 1980s, television literature and art developed rapidly in China. A series of full-length TV series such as “Nova” and “Longing” Hundreds of millions of viewers in a single night - it is simply a spectacle in the history of world cultural appreciation!