田汉对王尔德唯美主义的接受及其演变

发布时间：2018-06-07 00:36

本文选题：田汉 + 王尔德　；参考：《华中科技大学》2008年硕士论文

【摘要】： 田汉是中国现代文学史上的要剧作家和中国现代话剧奠基者。他以1920年发表《梵峨嶙与蔷薇》为始进入文坛,其后创作了大量新浪漫主义的作品,极具浓厚的个人艺术特色。到三十年代,田汉的创作风格发生改变,偏向现实主义,尤其以历史剧的创作为主,包涵了更多的政治理念和现实因素。本文的研究范围是田汉创作的早期阶段,即从步入文坛到三十年代这段期间的创作。田汉1916年东渡日本求学,并通过日本这座桥梁,接受了王尔德的唯美主义思想并将其融入到自己的创作中。但是对于王尔德的唯美主义田汉并没有全盘接受,而是加入了自己的思考和理解,最终演变成一种“田汉式”的不彻底的唯美主义主张。目前关于王尔德对田汉的影响研究比较少见,只有少量论文从译介角度出发对田汉与王尔德联系进行了研究,罕有全面的系统的研究论文。本文试从影响研究的角度出发系统的梳理田汉对王尔德唯美主义的接受和王尔德唯美主义在田汉接受过程中的变异。第一章从王尔德的唯美主义思想谈起,简述田汉对王尔德唯美主义的接受史。二者都具有浪漫多情思的气质和都遭遇了人生大不幸是田汉接受王尔德的基本条件和重要原因。第二章从文本分析的角度出发,阐述了田汉如何具体的把王尔德的唯美主义融入自己的早期创作中。田汉作品中表现出来的“艺术至上”的文艺观,和他爱用的“爱”与“死”与“美”的创作模式,以及不时流露出来的伤感颓废情调都跟王尔德唯美主义思想有着千丝万缕的联系。第三章重点分析了田汉的唯美主张和王尔德唯美主义之间的差异。田汉唯美主义主张是承接王尔德唯美主义而来,但是二者又有所不同。由于所处的社会环境语境和个人成长学习经历的原因,田汉的唯美主义蒙上了“美化人生”、“拯救人生”、“拯救社会”功利的色彩,是一种不彻底的唯美主义。
[Abstract]:Tian Han is an important playwright in the history of modern Chinese literature and the founder of Chinese modern drama. He entered the literary world with the publication of Brahmo Mountain and the Rose in 1920, and then created a large number of Neo-Romantic works with strong individual artistic characteristics. By the 1930s, Tian Han's writing style changed and tended to realism, especially in historical drama, which included more political ideas and realistic factors. The research scope of this paper is the early stage of Tian Han writing, that is, the period from the literary world to the 1930s. Tian Han traveled to Japan to study in 1916, and through this bridge, he accepted Wang Erde's aestheticism and integrated it into his own creation. However, the aestheticism Tian Han of Wang Erde was not accepted completely, but added his own thinking and understanding, and finally evolved into a kind of "Tian Han" imperfect aestheticism. At present, the research on the influence of Wang Erde on Tian Han is rare. Only a few papers have studied the relationship between Tian Han and Wang Erde from the perspective of translation and introduction, and there are few comprehensive and systematic research papers. This paper attempts to systematically comb Tian Han's acceptance of Wang Erde aestheticism and the variation of Wang Erde aestheticism in the process of Tian Han acceptance from the perspective of influence research. The first chapter begins with Wang Erde's aestheticism and describes Tian Han's acceptance history of Wang Erde aestheticism. Both of them have romantic and multi-sentimental temperament and have encountered great misfortune in life, which is the basic condition and important reason for Tian Han to accept Wang Erde. In chapter two, from the angle of text analysis, the author expounds how Tian Han concretely integrates Wang Erde's aestheticism into his early creation. Tian Han's literary view of "art first", and his love of "love" and "death" and "beauty" in his works, And the sentimental decadence revealed from time to time and Wang Erde aestheticism are inextricably linked. The third chapter analyzes the difference between Tian Han's aestheticism and Wang Erde's aestheticism. Tian Han aestheticism is a continuation of Wang Erde aestheticism, but the two are different. Because of the social environment context and personal growth and learning experience, Tian Han's aestheticism is a kind of incomplete aestheticism, which has the color of "beautifying life" and "saving society".
【学位授予单位】：华中科技大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I106.3;I0-03

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