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在线阅读 --哲学社会科学版 2021年1期《民初“游园”与女性空间之拓展——家庭剧中的日常生活镜像》
民初“游园”与女性空间之拓展——家庭剧中的日常生活镜像--[在线阅读]
林存秀
绍兴文理学院 马克思主义学院, 浙江 绍兴 312000
起止页码: 70--77页
DOI:
摘要
看戏既是一种日常活动,又是高于日常的审美和精神活动。民国初年尤其是1913年后,家庭剧的演出盛行一时,传统以维护宗族伦理为目的的惩戒剧和伦理教化剧,渐渐向以爱情为中心的家庭情节剧转变。“游园”情节在新剧中的出现,是这一变化的表征。在社会转型时期,内外隔离被打破,女性的生活空间在三个层面上获得扩展:一个是在虚拟的想象空间,以“游园”母体作为隐喻,女性的情感世界得以呈现;一个是在实体空间,公园、戏院、游乐场等娱乐场所对女性的开放;在社会层面,女性观众和女艺人争取公共空间的话语权,女性的主体身份和社会地位得以提升。

“Garden-Visiting” Plots and the Expansion of Women's Space in the Early Republic of China—The Image of Daily Life in Family Dramas
LIN Cunxiu
College of Marxism, Shaoxing University, Shaoxing, Zhejiang 312000, China
Abstract:
Going to the theatre is a daily activity, and also an aesthetic and spiritual activity higher than the daily life. In the early years of the Republic of China (1912-1949), especially after 1913, the performance of family dramas prevailed for a while, and the traditional disciplinary dramas and ethics dramas that maintained clan ethics gradually changed to the love-centric family melodramas. The appearance of the plot of “visiting gardens” in the new drama is the symbol of this change. In the period of social transformation, the internal and external isolation was broken, and the living space of women in the early Republic of China was expanded in three aspects: one was the presentation of women's emotional world in the virtual imagination space, with the “garden” plot as a metaphor; one was the opening of physical spaces to women in parks, theaters, playgrounds and other entertainment places; at the social level, female audience and artists strived for their right to speak in public space, and the improvement of their identity and social status.

收稿日期: 2020-07-05
基金项目:

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