摘要
复仇是新文学的一大母题。近现代中国贫弱和耻辱的灰色境遇激发了以家国为己任的知识分子悲壮和忧愤的民族自觉,复仇成了消解焦虑的文化革命想象。鲁迅《铸剑》的重心和巧妙在于复仇过程和复仇方式上的设计,"后复仇"情节成了复仇之上的复仇。巴金是在复仇的沉思中完成了思想和启蒙的另一种文学选择。汪曾祺复仇者为父报仇的永恒模式成了心灵扭曲和罪恶的象征。曹禺借复仇书写生命的原始强力,同时也写了人的现代困境。茅盾《参孙的复仇》的意义是多重的,除复仇的多向外,还有对女性和自己的复仇。近现代中国"被侮辱与被损害"的集体记忆使得复仇成为讲述中国故事的便捷途径。
The vengeance is a main theme in the New Literature. In the circumstances of modern China,it becomes the cultural and revolutionary imagination to lessen the anxiety for the vengeance. The emphasis on Lu Xun＇s Mei Jianchi lies in the design of the course and way. The plot after the vengeance is the double one. Ba Jin finishes his literary choice through the deep thinking. Wang Zengqi understands the vengeance mode into a symbol of psychological evil. Cao Yu tells a story of modern contradiction by his The Wild Plain. Mao Dun is good at female vengeance. Due to the dark collection memory,the vengeance is a direct way to relate Chinese story for writers.
出处
《重庆邮电大学学报（社会科学版）》
北大核心
2015年第5期121-125,共5页
Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)
基金
陕西省社会科学艺术学项目:和谐社会下的陕西艺术价值体系及其战略建构研究(201028)
长安大学人文社会科学基金项目:作为大众文化的电视解说的意识形态效果研究(0929)
关键词
新文学
复仇书写
鲁迅
巴金
汪曾祺
曹禺
茅盾
new literature
vengeance
Lu Xun
Ba Jin
Wang Zengqi
Cao Yu
Mao Dun
