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在前一段的讨论中,人们对戏曲文学的“神经系统”做了较多的“会诊”,比如封建的观念意识,传统的道德批判,庸俗社会学的成份,薄弱的个性意志等等。如果我们把戏曲比做一个步履踉跄的巨人,那么,除了上述“神经系统”的疾病外,它还拖着一条“跛足”,即戏曲文学叙事体制的问题。本文拟就此做些议论。所谓叙事体制、乃即叙事方法的总称,它是完成对象描述的手段。我们之所以单独把它分出来谈,并称之为戏曲文学的一条“跛足”,是因为我们发现迄今为止戏曲文学在其叙事体制上所表现出来的凝固、僵化与简陋,已足以妨碍和羁绊了戏曲文学向当代审美领域的迈进与拓展。
In the discussion of the previous paragraph, people made more “consultation” on the “nervous system” of opera literature, such as the feudal consciousness of consciousness, the traditional moral criticism, the composition of vulgar sociology, the weak will of the individual, and so on. If we compare drama to a gigantic gait, then besides the above-mentioned “nervous system” diseases, it lags behind the issue of “lameness”, that is, the narrative system of opera literature. This article intends to make some discussion. The so-called narrative system, that is, the general term of the narrative method, it is the means to complete the description of the object. The reason why we separate it separately and call it a “lameness” of the drama literature is that we have found that the solidification, rigidity and simplicity of the drama literature so far has been sufficient to prevent Tracing the Progress and Expansion of Traditional Opera Literature to the Contemporary Aesthetic Area.