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鲁迅晚年创作的《故事新编》,通过三种途径对历史和神话进行大胆的改编和创造,即“历史的同时化呈现”、“取一点因由”再“随意点染”、人物形象的“脱冕”。历史和神话为什么能被鲁迅象“橡皮泥”一样任意地揉搓?是因为《故事新编》是西方表现主义深刻影响下的产物。在表现主义那里,为了表现作家的思想和个体情感,历史可以成为主观表现的工具,被创作主体随心所欲地撕碎、变形、颠覆、改编和创造。
In the later years of his life, Lu Xun’s “Newly Edited Stories” boldly adapted history and mythology in three ways: “the simultaneous appearance of history presents ” and “ , The image of the character ”“ crown ”. Why can history and mythology be rubbed arbitrarily as “plasticine” by Lu Xun? Because the “new story” is the product of the profound influence of western expressionism. In expressionism, history can be used as a tool of subjective expression in order to express the writer’s thoughts and individual emotions. It is shredded, deformed, subverted, adapted and created by the creative subject as much as he wants.