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易卜生的代表性戏剧《玩偶之家》塑造了五四后中国女性解放的符号人物——娜拉。鲁迅在1923年的一次演讲中提出“娜拉走后怎样?”的问题,并给出了“不是堕落,就是回来”的悲观回答。两年之后,鲁迅在小说《伤逝》中将他理解的答案再次进行了详细的描摹,展现一个“造人”神话的破灭。而胡适,作为易卜生主义的首倡者,1919年3月发表了中国第一部现代戏剧《终身大事》,描写一个看似开放民主实则有多重思想桎梏的家庭,并通过主人公的成功逃离展示了争取婚姻自主的可能性,提出了易卜生主义就是真正的健全的个人主义的观点并对其进行了仔细剖析。从这两部同一时期发表的小说与戏剧中,我们可以分析出胡适和鲁迅对易卜生主义的不同解读。
Ibsen ’s representative play Doll’ s House shaped the symbol of Chinese women ’s liberation after the May Fourth Movement. In a speech made in 1923, Lu Xun put forward the question of “how did Nara go?” And gave a pessimistic answer to “not degenerate, that is, come back”. Two years later, Lu Xun again elaborated his understanding of the answer in the novel Sorrow, showing a burst of a myth. Hu Shih, as an initiator of Ibsenism, published the “lifelong event” of the first modern drama in China in March 1919, describing a seemingly open and democratic realm with multiple thoughts and fiasco, and escaped the show through the hero’s success For the possibility of fighting for the possibility of marriage autonomy, put forward the view that Ibsenism is truly sound individualism and carefully analyzed it. From these two novels and plays published in the same period, we can analyze the different interpretations of Ibsenism by Hu Shi and Lu Xun.