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田汉是中国现代文化艺术史上最为多才多艺的一位大师级人物,集话剧作家、戏曲作家、电影编剧、小说家、词作家、诗人、文艺批评家、文艺活动家等多重身份于一身,他富于浪漫传奇色彩的悲喜人生,本身就是中国影剧发展史的一个缩影,同时也是中国文化史和中国政治史的一面镜子。一、“波陀雷尔的恶魔之剑” 留学日本的田汉,在最初创作的《梵峨璘与蔷薇》和《灵光》两部戏剧作品中,所形成和表现出来的,是以灵肉调和的至上艺术和至上情爱为救国救民、救苦救难的绝对天理和最佳手段,既存天理又存人欲、既要爱国又要惟美的实用主义二元工具论浪漫文艺观。与这种浪漫文艺观相配套的浪漫人生观,就是由“做不起人”的美女佳人,“像圣母玛利亚”那样为男权人物付出“存天理灭人欲”的殉道殉情殉艺术之类的牺牲奉献,进而与男权人物一道去从事救国救民、救苦救难的神圣事业.并充当男权强权甚
Tian Han is one of the most versatile master figures in the history of modern Chinese culture and art. He combines multiple identities of drama writers, drama writers, screenwriters, novelists, songwriters, poets, literary critics and cultural activists. The romance and romance of romantic legend itself is a microcosm of the history of the development of Chinese drama and a mirror of Chinese cultural history and Chinese political history. One, “Potomacter’s Devil’s Sword” Tian Han, who studied in Japan, was formed and demonstrated in the two original dramas “Vatican Emei and Rose” and “Emmanuel” The supremacy of meat harmony and supreme love for the sake of saving the country, saving the absolute heaven and the best means of survival, both existential and human desire, it is necessary to patriotic but aesthetic pragmatic dualism of romantic literature and art concept. Romantic view of life with this romantic concept of literature and art, is from “can not afford to ” beauty and beauty, “like the Virgin Mary ” as the patriarchal figure to pay Sacrifice and sacrifice of the sacrificial martyrdom of the martyrdom, and then with the patriarchal people to carry out the sacred cause of saving the nation and saving the nation and acting as the power of men