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民族固有艺术形式和具有病态的典型东方事物是徐慕云的戏曲双重定位。这是徐慕云以民族主义立场对抗西方话语的同时又在知识结构上深受西方影响的产物。基于对抗性话语中的戏曲定位,徐慕云形成了向西方证明东方和建构本民族文化共同体的戏剧史编撰动机,该动机决定了《中国戏剧史》略古详今的述史格局。而西方话语认可中的戏曲定位又催生了徐氏的另一编撰动机和其书写的历史标准,即通过当今剧种的研究探寻国剧病症和以改良作为衡量剧种历史发展潜力的标准。诊断病源的目的使得《中国戏剧史》在纵向梳理中国戏剧发展的同时又展开中西的横向比较,形成了横纵结合的述史脉络。而由病态定位延伸出的改良观念又影响其具体史述时的内容安排。
The inherent art form of the nation and the morbid typical oriental things are dual roles of Xu Muyun’s opera. This is the product of Xu Muyun’s confrontation with Western discourse in the nationalist position while being deeply influenced by the West in the structure of knowledge. Based on the opera orientation in confrontational discourse, Xu Moyun formed a motive for compiling the history of drama to prove the East to the West and construct a national cultural community, which motivated the historical narrative of “History of Chinese Theater”. However, the positioning of opera in Western discourse recognition gave birth to another motive of Xu’s compilation and historical standard of writing. That is to say, through the study of contemporary drama, it explores the symptoms of national drama and improves it as a standard to measure the potential of historical development. The purpose of diagnosing the etiology causes the history of Chinese drama to comb the development of Chinese drama longitudinally and at the same time to carry out the horizontal comparison between China and the West and form the context of historical narration. However, the concept of improvement extended by pathological positioning affects the content arrangement of the specific history.