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20世纪90年代以来,中国悲剧的精神和境界正如在文艺批评中遭到了几乎致命的否定,在文学创作中也遭到了强有力的消解。20世纪90年代以来。中国思想文化界出现了一种“告别”和“背叛”的历史潮流。在一定程度上,这也是对中国悲剧的消解。从白毛女与黄世仁的关系在20世纪的变化中,就可以清楚地看到这种历史潮流的演变和发展。20世纪40年代,贺敬之等所塑造的白毛女对奴役她的黑暗世界是反抗的。白毛女对黄世仁的认识是清醒的,“你把我看成什么人了!黄世仁他是我的仇人!就是天塌地陷我也忘不了他跟我的冤仇啊。他能害我,能杀我,他可别妄想使沙子能迷住我的眼!”对黄世仁的压迫是反抗的,“我就是再没有能耐,也不能再像我爹似的了,杀鸡鸡
Since the 90s of the 20th century, the spirit and realm of the tragedy in China have been almost deadly denied in the literary criticism and have been resolutely dissolved in literary creation. Since the 1990s. Chinese ideological and cultural circles have witnessed a historical trend of ”farewell“ and ”betrayal.“ To a certain extent, this is also a resolution of the tragedy in China. From the changes of the relationship between the White-Haired Girl and Huang Shiren in the 20th century, we can clearly see the evolution and development of this historical trend. In the 1940s, the white-haired woman shaped by He Jingzhi and others opposed the dark world that enslaved her. White hair woman’s understanding of Huang Shiren is awake, ”you think of me as a person! Huang Shiren he is my enemy! Is the sky I can not forget the enemy he and I ah .He can harm me, Can kill me, he can not dream of making the sand can fascinate my eyes! “” Oppression of Huang Shih-ren is resistance, "I just can not afford, can no longer be like my father, and kill chicken