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曹禺善于刻画鲜明的女性形象,一类是他前期的剧作中所刻画的女性形象具有鲜明的反叛意识,以《雷雨》中的周蘩漪、《日出》中的陈白露和《原野》中的花金子为代表的“魔女”形象;另一类是他后期剧作中刻画的女性具有强烈牺牲精神,以《北京人》中的愫芳、《家》中的瑞珏和《蜕变》中的丁大夫为代表的“圣母”形象。时代的嬗变加之曹禺个人创作心理的诸多变化等是影响他前后期创作女性形象的重要因素,本文试图探究曹禺前后期剧作中两类女性形象背后的深层次差异性和原因,来揭示作者在创作女性形象中所表现出的变化。
Cao Yu is good at portraying vivid feminine images, and the other is the clear rebellious consciousness of the feminine images portrayed in his early dramas. In his works, Zhou Yiyi in Thunderstorm, Chen Bailuu in Sunrise and The other is the image of the women portrayed in his later plays with a strong sense of sacrifice, “Beijinger” in the fang Fang, “home” Rui Jue and “metamorphosis” In the representative of Dr. Ding “Virgin ” image. The changes of the times and many changes of Cao Yu’s personal creative psychology are the important factors that affect his pre-and post-creation female images. This paper attempts to explore the deep-seated differences and reasons behind the two types of female images in the pre-and post- Changes in the creation of female images.