摘要
悲剧《赵氏孤儿》从故事的起源到纪君祥的元杂剧《赵氏孤儿大报仇》,到明代的《八义记》再到清代的皮黄戏,一直缺失程婴妻子的角色;而传到法国,经伏尔泰改编的《中国孤儿》则首次增加了依达姆这个重要女性角色;但在中国从清末京剧《搜孤救孤》才开始考虑到程婴妻子角色的重要性。这个现象在一定程度上反映了中西方妇女在伦理文化语境和女性意识觉醒方面的差异。
The role of Chengying' s wife are not given enough attention in the tragedy, The Orphan of Zhao opera, Ji Junxiang' s the Great Revenge of the Orphan of Zhao in Yuan Dynasty, the Eight Heroes in Ming Dynasty and Pihuang Opera in Qing Dynasty; while Idame, a heroine is firstly added by French writer, Voltaire, to his adaptation the Orphan of China. The importance of Chengying' s wife had not been realized in Chinese literature until the late Qing Dynasty, in a Peking opera, Seeking and Saving the orphan. This phenomenon, to some extent, reflects the discrepancies between Chinese and western females in terms of ethic cultural context and feminine consciousness awakening.
出处
《河南理工大学学报(社会科学版)》
2012年第4期443-447,共5页
Journal of Henan Polytechnic University:Social Sciences
关键词
程婴之妻
悲剧
伦理文化语境
女性意识
Chengying' s wife, tragedy, ethic cultural context, feminine consciousness