本文關(guān)鍵詞： 大眾文化 悲壯 陽剛 娛樂至死　出處：《上海師范大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 二十世紀(jì)三四十年代是全民抗戰(zhàn)的年代,是中華民族抗擊外辱爭取民族獨(dú)立的年代,是不畏強(qiáng)暴奮起抗擊的年代,更是充滿著慷慨悲壯之氣的特殊年代。一群具有社會(huì)良知和社會(huì)責(zé)任感的知識(shí)分子自覺地投入到民族抗戰(zhàn)的偉大事業(yè)中,創(chuàng)作出許多作品來鼓舞人們奮起抗擊外敵的入侵,這些作品具有明顯的悲壯美的藝術(shù)風(fēng)格。這些藝術(shù)作品不僅表現(xiàn)在雅文學(xué)中,在大眾文化中也體現(xiàn)出其鮮明的藝術(shù)特征。悲壯美的風(fēng)格在我國具有其悠久的歷史,這不僅承襲于儒家和道家的傳統(tǒng)文化,而且在先民早期的社會(huì)生活中也具有這方面的精神意識(shí),生活環(huán)境的困苦與生存壽命的短暫使先民和先哲都不由自主的思考著死亡與不朽,在社會(huì)生活和文化實(shí)踐中漸漸根植于民族的文化心理中,使我們中華民族漸漸成為一個(gè)具有統(tǒng)一的精神意識(shí)和民族認(rèn)同感的民族,這突出表現(xiàn)在面對(duì)外敵入侵和抵抗外辱的現(xiàn)實(shí)斗爭中,這種精神意識(shí)慢慢沉積就演變成為深埋在中華民族內(nèi)心深處的精神意志。抗戰(zhàn)時(shí)期大眾文化中有著悲壯風(fēng)格的藝術(shù)作品不僅與時(shí)代相呼應(yīng)而且與人們的需求相關(guān)聯(lián),使得這個(gè)時(shí)期的大眾文化呈現(xiàn)出一片繁榮的景象,與此形成鮮明對(duì)比的是當(dāng)代的大眾文化過多的呈現(xiàn)出娛樂的傾向,以至于出現(xiàn)了“娛樂至死”的大眾文化觀,這種大眾文化固有其一定的存在理由,但是當(dāng)今社會(huì)此種文化觀的泛濫對(duì)大眾文化的健康發(fā)展帶來了一定的危害,而且這種大眾文化觀與人們的現(xiàn)實(shí)生活有一定距離,正是由于看到了這一點(diǎn),我們現(xiàn)在才重新探究分析抗戰(zhàn)時(shí)期的大眾文化,希望通過對(duì)那個(gè)時(shí)期把藝術(shù)性、商業(yè)性、時(shí)代性較好地融合在一起的一些大眾文化作品的分析,以期能對(duì)我們當(dāng)代大眾文化的健康發(fā)展起到一定的借鑒意義。
[Abstract]:In 20th century, the 1930s and 40s were the era of the Anti-Japanese War for the whole people, the era of the Chinese nation fighting against foreign insults and striving for national independence, and the era of fighting against the people without fear of violence. A group of intellectuals with a sense of social conscience and social responsibility consciously devoted themselves to the great cause of the National War of Resistance against Japan, and created many works to inspire people to rise up and resist the invasion of foreign enemies. These works have an obvious artistic style of tragically beautiful. These works of art are not only embodied in elegant literature, but also manifest their distinctive artistic characteristics in popular culture. The tragic and beautiful style has a long history in our country. This not only inherited the traditional culture of Confucianism and Taoism, but also had the spiritual consciousness in the early social life of the ancestors. The hardship of living environment and the short life span made the ancestors and philosophers think of death and immortality involuntarily, and gradually rooted in the cultural psychology of the nation in the social life and cultural practice. Gradually, the Chinese nation has become a nation with a unified spiritual consciousness and national identity, which is prominently manifested in the realistic struggle against the invasion of foreign enemies and the resistance to foreign humiliation. This kind of spiritual consciousness slowly deposited into the spiritual will buried deep in the heart of the Chinese nation. In the mass culture during the War of Resistance against Japan, the works of art, which had a tragic style, not only echoed the times but also related to the needs of the people. The mass culture of this period presents a prosperous scene, which is in sharp contrast to the tendency of entertainment in the contemporary mass culture, so much so that there is a popular cultural view of "entertainment to death". This kind of popular culture has its own reasons for existence, but the proliferation of such cultural view in today's society has brought certain harm to the healthy development of popular culture, and this view of popular culture is far from people's real life. It is precisely because we have seen this that we are now re-exploring and analyzing popular culture during the War of Resistance against Japan. We hope that through the analysis of some popular cultural works in which artistry, commerce, and epochal character were better integrated in that period, With a view to the healthy development of our contemporary mass culture to play a certain reference significance.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：K265

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