摘要
曹禺创作从前期悲剧转入后期喜剧涉及到他的深层精神立场。超越精神是曹禺悲剧的精神立场,实用理性是他喜剧的精神立场,《北京人》作为正剧是两种精神立场冲突的结果。由此可以深入地分析曹禺创作的内在理路,把握曹禺剧作的深层意蕴,并对曹禺创作道路及其所依托的精神传统展开一定的反思。
It is concerning Cao Yu's spiritual stands that he has changed his writing pattern from tragedy to comedy. In this paper, we hold that transcending spirit is spiritual stand of Cao Yu's tragedies. Practical reason is spiritual stands of his comedies. There are two kinds of spiritual stands at war with each other in his serious drama People in Peking. From this angle, we can catch hold of the key meaning of Cao Yu's dramas, and reflect on his spiritual tradition.
出处
《西南师范大学学报（人文社会科学版）》
CSSCI
北大核心
2003年第4期153-157,共5页
Journal of Southwest China Normal University(Philosophy & Social Sciences Edition)
