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20世纪“文革”前后,笼罩在中国的是一种愚昧的伪浪漫主义。在这种巨大氛围之下,一批批的青年在最需要激情和人文理想的年纪,毫不犹豫地接纳和拥抱了这种理想主义,但这是一种缺乏对历史和现实清醒考量的理想主义,所以以它的名义产生的浪漫主义情怀没有了现实的感召,因而只是一种虚假的伪理想主义,它附着在个体身上并不能真正产生人道主义关怀,而是使得个体陷入虚假浪漫主义所带来的幻想当中,无法认清和改观现实,并且导致了个体走向人生的悲剧。影片《太阳照常升起》反映了这种伪浪漫主义给那个年代具体的生命个体的人生带来的影响,其中“疯妈”形象就是一个典型的反映。她的生命到死亡的历程就是不断地对这种伪浪漫主义固执地践行直到难以自拔的过程。
Around the 20th century, “Cultural Revolution”, shrouded in China is a fool of pseudo-romanticism. Under such tremendous atmosphere, a batch of young people accepted and embraced such idealism without hesitation in the age most in need of passion and humanistic ideal, but this is an ideal lacking in a sober consideration of history and reality So the romantic sentiment produced in its name has no realistic appeal. It is therefore only a kind of false pseudo-idealism, which is attached to an individual and does not really produce humanitarian care but leaves the individual in a false romanticism Brought fantasy, can not recognize and change the reality, and led to the tragedy of individuals to life. The film “The Sun Also Rises” reflects the impact this pseudo-romanticism has had on the life of a particular life individual in that era. The “crazy mother” image is a typical reflection. Her life-to-death journey is a constant process of stubborn exertion of this pseudo-romanticism until it is hard to extricate itself.