摘要
“黄大善人”说是近年《白毛女》争议中颇引人注目的一种“真相”,但究其实,从歌剧版到电影版再到芭蕾舞剧版,《白毛女》都建基于若有若无的传说之上,并未以具体真人真事为原型。故而包括“黄大善人”说在内的所有“真相”皆无事实根据,不过就与自然真实的接近程度而言,现存《白毛女》诸文本比“善人”说更切合其时乡村的实况。然而《白毛女》之所以能成为中国现代革命中“弱者的武器”,却又是阶级/伦理之“糅合”策略与“成长”/“复仇”之叠合机制对“白毛仙姑”传说予以重构、再造的结果。《白毛女》持续不断的再生产过程,见证了早期社会主义现实主义在历史变动中的反复自我调适。
The argument of“the Huang Da Shan Ren”is one of the quite striking truths in the controversy over The White-Haired Girl in recent years.In fact,evolving from the opera version to the movie version to the ballet version,The White-Haired Girl is only based on vague legends,not on specific people and events.Therefore,all the truths,including the argument of“the Huang Da Shan Ren”,have no factual basis.However,in terms of the closeness to the truth,the existing texts of The White-Haired Girl are more relevant to the reality of the rural areas in the Republic of China than the statement of“the great Huang”.In addition,the reason why The White-Haired Girl can become the weapon of the weak in the modern Chinese revolution is the result of the reconstruction and re-shaping of the legend of the white-haired girl by the combination strategy of class/ethics and the superposition mechanism of growth/revenge.The continuous process of reproduction of The White-Haired Girl has witnessed the repeated self-adjustment of early socialist realism in the historical changes.
出处
《暨南学报（哲学社会科学版）》
CSSCI
北大核心
2020年第6期50-60,共11页
Jinan Journal(Philosophy and Social Sciences)
