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处于文化转型期的20世纪20年代,文化问题、伦理道德问题成为中国现代话剧创作关注的重要问题。中国传统社会性格表现为传统引导人格,强调幼者对长者的绝对服从;而20世纪初具有现代人格的年轻一代,个性意识开始觉醒,强调追寻自我内心,追求个人权利,按照自我需要行事。长辈和子辈秉承着新旧两种不同道德观念,长幼冲突体现在20世纪20年代话剧中,实则是新旧文化、新旧道德的冲突。由于子辈对长辈及其所代表的根深蒂固的传统伦理道德的抗争在当时很可能是要失败的,因而随着个性意识的觉醒,中国现代悲剧意识开始崛起。通过这种长幼冲突模式,20世纪20年代悲剧创作传达出现代文化转型的时代特征。
In the 1920s, when culture was in the transitional period, cultural issues and ethical issues became the important issues of concern to the creation of modern Chinese drama. The traditional Chinese social character is the traditional guide personality, which emphasizes the absolute obedience of the elders to the elders. At the beginning of the 20th century, the young generation with modern personality began to wake up, emphasizing pursuing self-centeredness, pursuing individual rights and acting according to their own needs. Elders and their children uphold the old and new two different moral values, the conflict was shown in the 1920s drama, but in fact the old and new cultures, the conflict of new and old morality. Since the resistance of elders to elders and the deep-rooted traditional ethics they represent is likely to fail at that time, awareness of modernity has risen with the awakening of individual consciousness. Through this model of conflict between the young and the old, the tragedies in the 1920s convey the characteristics of the times when the modern culture was transformed.