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服饰的变迁有着深刻的文化性、政治性根源。晚清、民国社会文化变革的艰难、惨烈、复杂,同样也体现在服饰的变革之中。鲁迅的《呐喊》《彷徨》在深切展现了晚清、民国的社会现实的同时,其服饰描写同样具有重要的社会性、文化性、思想性内涵。而《故事新编》中的《补天》《理水》《非攻》诸篇的服饰描写,则传达出了鲁迅批判繁缛、虚骄的传统文化,崇尚简朴务实的思想。
Clothing changes have a profound cultural, political roots. Late Qing Dynasty, the Republic of China social and cultural changes difficult, tragic, complex, also reflected in the changes in costumes. Lu Xun’s “shout” and “imitation” deeply demonstrated the social reality of the late Qing Dynasty and the Republic of China. At the same time, his costume description also had important social, cultural and ideological connotations. However, the costume descriptions of “Butian”, “Li Shui” and “Fei Gong” in “New Edition of the Story” convey Lu Xun’s traditional culture of criticizing the complicated and arrogant, advocating simple and pragmatic thinking.