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伪满洲国时期,随着殖民政治压力的不断增强,东北作家的创作也受到强大政治的约束和控制,并渐渐在创作中形成符合殖民话语的“附逆”之作,但在殖民主义淫威之下,东北剧作家兼满铁脚本创作员安犀以其坚定的国家民族认同感和独特的写作方式塑造了具有反抗精神的人物形象和话剧主题,成为东北沦陷区反抗作家的典型和缩影。本文重点剖析安犀剧作的主题倾向,如何在殖民主义窥视下,将渐渐明朗的反抗意识以艺术的手段融入到话剧主题展现中,这些主题的流变过程恰是反抗殖民主义意识渐渐明朗的过程,形成东北沦陷区作家反抗者的一般样态。
During the puppet Manchukuo period, with the increasing pressure from colonial politics, the creation of northeast writers was also restrained and controlled by powerful politics. Gradually, the writing of “attachment to the adversary” complied with the colonial discourse in the process of creation. However, in colonialism Despotic power, the northeast dramatist and ironclad script creator An Xiang rhinoceros with its strong national identity and unique writing style has shaped the image of the character of the insurgent and the theme of drama, become a typical and miniature of the anti-writers in the occupied areas of northeast China . This thesis focuses on the theme of ANZHONG’s dramatic tendency. How to incorporate the increasingly clear awareness of resistance in the show of the theme of drama under the peeping of colonialism? The rheological process of these themes is just how the anti-colonialist consciousness gradually becomes clear Process, forming the general pattern of the writers’ rebels in the enemy-occupied areas in the Northeast.