试论曹禺对中国传统悲剧的突破与皈依.pdf

密 级： 学校代码：10075 分类号： 学 号：gxjs10009 文学硕士学位论文 试论曹禺对中国传统悲剧的突破与皈依 学位申请人：李 艳 指 导 教 师 ：熊 权 副教授 学 位 类 别 ：文学硕士 学 科 专 业 ：中国现当代文学 授 予 单 位 ：河北大学 答 辩 日 期 ：二○一三年六月 Classified Index: CODE: 10075 U. D. C.: NO: gxjs10009 Analysis of the Breakthrough and Regression showed by Cao Yu to Chinese traditional tragedy Candidate: Li Yan Supervisor: Prof. Xiong Quan Academic Degree Applied for: Modern and Contemporary Chinese Literature Specialty: Master of Arts University: Hebei University Date of Oral Examination: June, 2013 摘 要 I摘 要 本文以曹禺的悲剧创作同中国传统悲剧的比较为切入口，对曹禺作品进行解读。

本文的创新性在于：阐述并分析曹禺对于中国传统悲剧的突破与皈依，试图挖掘出曹禺悲剧艺术的独特性本文从曹禺悲剧意识的形成及特点，中国传统悲剧的特点，以及曹禺悲剧与中国传统悲剧的不同和皈依几个方面，对曹禺的作品进行深入研究，探究曹禺悲剧艺术的独创性论文包括以下主要内容和观点： 首先，论述曹禺悲剧艺术的形成受其人生经历、中国传统文化以及西方悲剧理论的影响他自幼丧母，与父亲关系疏远，沉闷的家庭气氛，加上从小就听闻各种悲惨的故事，这些因素都造成了他忧郁的性情成人后，他善于观察周围人生活中的悲剧，使得他的作品越来越接近悲剧化的创作方向曹禺的剧作吸收了中国传统文化“善恶分明”和“民贵”思想，同时也推崇道家提倡的肯定人性自由，破除道德枷锁的倡导曹禺受到西方悲剧创作中人与命运冲突的表现形式，肯定了人的本质力量 其次， 探讨曹禺对中国传统悲剧的突破 本文辨析并确定了所谓的 “中国传统悲剧” ，中国传统悲剧具有运用喜剧性因素和使用“大团圆”结局模式的特点同时，偶然性因素和人为因素在推动情节发展方面发挥着重要的作用曹禺则在塑造人物形象、设置悲剧冲突以及融入宗教因素几个方面做到了与传统悲剧不同 曹禺的悲剧作品中创作了许多经典的女性形象，他们勇敢抗争，也最具悲剧艺术效果；在悲剧冲突方面，曹禺不再沿袭传统悲剧“大团圆”式的结局，突出人物的冲突，将性格悲剧与命运悲剧完美结合；基督教对曹禺创作的影响是很明显的，上帝的存在、原罪意识等都增强了艺术效果。

最后，曹禺的悲剧创作并不是完全颠覆中国传统悲剧的创作方法，他还是从两个方面表现出了对中国传统悲剧的皈依第一，曹禺前期的作品《雷雨》 、 《日出》 、 《原野》中都对“家”的概念表现出了完全的否定和批判，强调“冲出家” ，但是到了后期，他对于“家”又呈现出一种感情上的理解与留恋，这种调和、折中恰巧符合了中国传统悲剧厚重深沉的风格第二，他的作品中除了描写了新时代追求自由和解放的女性，也运用按照中国传统美德的要求刻画了经典的女性形象，例如愫方和瑞珏 关键字 曹禺 悲剧意识 中国传统悲剧 突破 皈依Abstract IIAbstract This paper regards the comparison of the tragedy of Cao Yu with Chinese traditional creation as the entrance, and it describes and analyzes the innovation in the creation of the tragedy of Cao yu for breakthrough and conversion of the Chinese traditional tragedy, trying to dig out the art creation of the tragedy, grasping the writer's tragedy creative methods from the macroscopic Angle. From the formation of his tragic consciousness, the differences between Chinese tragedies and realistic methods and ethics in tragedies works, this paper aims to carry out in-depth studies and explore the uniqueness of his tragedies. Firstly, this paper proves that the form of Cao Yu’s tragedy consciousness is influenced by his life experience, Chinese traditional culture and foreign creative theories of tragedy. His mother died when he was very young, and his father kept at a distance with him. The depressive family atmosphere and miserable stories heard from others formed his melancholy nature. When he grew up, he observed people’s life tragedy around him, which made his works get closer and closer to the tragedy of creation. Cao Yu’s plays observed Chinese traditional culture of “Distinguish good from bad” and “People are more important than the king“, stressed the freedom of Taoism human thought, and advocated expelling moral shackles. He was also influenced by the conflict of people and fate in western tragedy, and approved human nature. Secondly, Discussion the breakthrough of Chinese traditional tragedy showed by Cao yu. This paper differentiates and determines the existence of Chinese tragedy, and thinks that Chinese traditional tragedy has the characteristics of using comic factors and the “happy reunion“ to end up a play. And meanwhile, the contingency factors and human factors also play an important role in promoting the development of plot. Cao Yu’s plays were different from the traditional tragedy on the figures’ characters, tragic conflict and religious element. In his tragedies, he created many classical images of women who fought bravely, which had the most tragic arts effect; In tragic conflict, he no longer followed the traditional tragedy of “a happy ending”, on the contrary, highlighted figures’ conflicts by combining character tragedy with fate tragedy. Christian influence was obvious to his works. The existence of god, and sense of sin both enhanced the effectiveness of art. Finally, the creating ways of Cao Yu cannot completely overturn the creation of Chinese traditional tragedy method. He shows the return of the Chinese traditional tragedy from two Abstract IIIaspects. Firstly, the concept of “home“ is described as the complete negation and criticism in the early stage of the works “thunderstorm“, “sunrise“, “wilderness“, and “out of the house“ is emphasized, but later, he presents a kind of emotional understanding and nostalgia for “home”, while this reconciliation and compromise happened to accord with the thick dark style of the Chinese traditional tragedy. Secondly, his works not only describes the women who pursues freedom and the liberation but also engraves the classic image of women in accordance with the requirements of the Chinese traditional virtue, such as Su fang and Ruiyu. Keywords Cao Yu Tragedy consciousness Chinese traditional tragedy Breakthroughs Conversion目 录 IV目 录 引 言 。