论文部分内容阅读
张爱玲1955年赴美之后的电影文学剧本写作拓展了其既有的创作格局,成为其文学版图上的重大补充。张爱玲的剧作虽与其小说叙事在主题、视角等方面高度一致,但在“人的文学”基点上,这些剧作突破了张爱玲既有的为人与为文限度。在这些剧作中,张爱玲通过对“小奸小坏”的众生相的叙描,对小人物和弱者们的小奸小坏和小小的得意施以同情的理解,激赏于小人物们在艰难时世里的正直不苟,发掘着人性深处的光芒,而有关社会主义文学的“人的异化”及原始生命力的毁灭等主题丰富了张爱玲的创作视野。这些剧作最大限度还原了张爱玲晚期文学的真实面相。
Eileen Chang’s film script writing after the United States went to the United States in 1955 expanded its existing writing pattern and became a major supplement to its literary version. Although Zhang Ailing’s plays are highly consistent with his novels’ narratives in terms of themes and perspectives, these dramas break through the limitations of both Zhang Ailing’s human and cultural essays. In these dramas, Eileen Chang, through the narration of sentient beings of “little rascal”, sympathizes with the little rascals and the little pride of the little and the weak, appreciates that the little ones are struggling The integrity of the world was meticulously exploring the light of human nature, and the theme of “alienation of human beings” and the destruction of primitive vitality in socialist literature enriched Zhang Ailing’s creative vision. These plays to restore the true face of Zhang Ailing’s late literature to the maximum extent possible.