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五四是一个承前启后的历史时期。在兼容并蓄外来文化元素的同时,五四文学也发展了中国古典文学的某些传统,戏剧领域的创作也不例外。五四女剧作家的作品中就鲜明地体现了中国古典诗学中“游”的悲剧意识,本文从闺怨模式、漂泊模式和伤别模式这三大点入手,解析五四女剧作家在其创作中如何演绎古典诗学中“游”的悲剧意识,并阐释在新的历史条件下,五四女剧作家所赋予古典诗学母题的崭新内涵和意义。
The May 4th Movement is a historical period that has been inherited from the past. While being compatible with the elements of exotic culture, the May 4th literature also developed certain traditions of Chinese classical literature, and the creation in the field of theater is no exception. The May Fourth female playwright’s work clearly embodies the tragedy consciousness of “travel” in Chinese classical poetics. This article starts from the three major points of the pattern of girlfriend, How the writer interprets the tragedy consciousness of “travel” in classical poetics in his creation and explains the brand-new connotation and significance of the motif of classical poetics conferred by May Fourth women playwright under the new historical conditions.