《武訓(xùn)傳》批判研究
發(fā)布時間：2018-11-16 18:36
【摘要】：1951年，新中國剛剛成立不久，文壇上就發(fā)生了一件大事，即毛澤東親自下令對電影《武訓(xùn)傳》展開大規(guī)模批判，導(dǎo)致對中國新文化的整體格局的發(fā)展產(chǎn)生了深遠(yuǎn)的影響。此前，研究人員在對于《武訓(xùn)傳》的研究已經(jīng)有不少的成就。本文對前人的研究成果作了借鑒與拓展，采用歷史學(xué)，社會學(xué)，政治學(xué)，文學(xué)，教育學(xué)等理論探索毛澤東的文化策略的優(yōu)缺點(diǎn)，注重新視角，新方法的使用，對轉(zhuǎn)型期社會的政治、經(jīng)濟(jì)和文化的復(fù)雜關(guān)系作出了解和分析，以充分把握和揭示歷史事件背后的多種因素之間的內(nèi)部關(guān)系。 武訓(xùn)在歷史上曾經(jīng)是一位非常有名的人物，用平生乞討得來的錢興辦學(xué)校，讓自己家鄉(xiāng)很多上不起學(xué)的孩子受了教育，被當(dāng)朝統(tǒng)治者作為儒家圣賢的代表人物來宣傳推崇的。電影《武訓(xùn)傳》在拍攝時考慮到了當(dāng)時的政治因素，劇本對真實(shí)的歷史人物和事跡都作出了一些修改，但并沒有從根本上改變這一基本概念。因此，這種批判運(yùn)動在思想和文化層面實(shí)際上是對于傳統(tǒng)儒家文化的批評，是一個延續(xù)了“五四”以來激進(jìn)的反傳統(tǒng)主義的文化戰(zhàn)略，體現(xiàn)了中國近代以來層層深入的物質(zhì)、制度、文化現(xiàn)代化的整個發(fā)展過程。 本文以武訓(xùn)為主人公，介紹了他的歷史真正面目以及文化形象的演變，對1950電影《武訓(xùn)傳》的批判運(yùn)動及其影響進(jìn)行了梳理，簡單介紹了“文革”結(jié)束后官方及學(xué)術(shù)界對這一事件的深刻反省。由于毛澤東在這場運(yùn)動中的不可忽視的地位，因此，本文著重探討毛澤東個人相關(guān)思想的分析。毛澤東的文化革命和意識形態(tài)批判，唯物史觀的階級斗爭理論，文學(xué)和藝術(shù)的政治理論的觀點(diǎn)，他從政治視角對文學(xué)和歷史學(xué)科獨(dú)立性的忽視，都通過這個關(guān)鍵的批判運(yùn)動得到推廣和普及，產(chǎn)生了極為深遠(yuǎn)的影響。事實(shí)上，毛澤東的思想和理論，有其深厚的歷史根源與合理性，，但問題是，他把一個臨時的，特殊的，變化的現(xiàn)象看作是是普遍的，永恒的，固定的。結(jié)果，滲透潛移默化的思想成為主導(dǎo)力量強(qiáng)行灌輸，對于暴力革命的過度主張導(dǎo)致他忽視了人民日益增長的物質(zhì)文化需要與落后的生產(chǎn)力的矛盾已成為國內(nèi)的主要矛盾。但政治對文學(xué)和藝術(shù)創(chuàng)作以及人文和歷史研究的錯誤干涉，使人文學(xué)科不得不依附于政治，在政治的統(tǒng)治下茍延殘喘。
[Abstract]:In 1951, shortly after the founding of New China, a major event occurred in the literary world, that is, Mao Zedong himself ordered a large-scale critique of the film "the biography of martial arts", which led to a profound impact on the development of the overall pattern of Chinese new culture. Prior to this, researchers have made a lot of achievements in the study of the biography of martial arts. This paper draws lessons from and expands the previous research results, and explores the merits and demerits of Mao Zedong's cultural strategy by using the theories of history, sociology, political science, literature and pedagogy, and pays attention to the use of new perspectives and methods. This paper makes an understanding and analysis of the complex relations among politics, economy and culture in the transitional society, in order to fully grasp and reveal the internal relations between the various factors behind the historical events. Wu Xun was once a very famous figure in history. He set up a school with the money he had earned in his life, so that many children in his hometown who could not afford to go to school were educated and promoted by the ruler as the representative of Confucian sages. The film, "the biography of martial arts", took into account the political factors of the time, and the script made some changes to the real historical figures and deeds, but it did not fundamentally change this basic concept. Therefore, this critical movement is in fact a criticism of the traditional Confucian culture at the ideological and cultural level, a cultural strategy that continues the radical anti-traditionalism since the May 4th Movement, and embodies the layers of material that have deepened since the modern times of China. System, the whole development process of cultural modernization. This paper takes Wu Xun as the protagonist, introduces his historical true features and the evolution of his cultural image, and combs the critical movement and its influence of the 1950 film, the Biography of Wu Xun. This paper briefly introduces the deep reflection of the government and academic circles on this event after the end of the Cultural Revolution. Because Mao Zedong's position in this movement can not be ignored, this paper focuses on the analysis of Mao Zedong's personal thought. Mao Zedong's cultural revolution and ideological criticism, the theory of class struggle in historical materialism, the political theory of literature and art, his neglect of the independence of literature and history from a political perspective, Through this key critical movement to be popularized and popularized, has had the extremely profound influence. In fact, Mao Zedong's thought and theory have deep historical roots and rationality, but the problem is that he regards a temporary, special and changing phenomenon as universal, permanent and fixed. As a result, the infiltrating and imperceptible thought became the dominant force to force indoctrination, and the excessive claim to the violent revolution led him to ignore the contradiction between the people's growing material and cultural needs and the backward productive forces, which had become the main contradiction in our country. However, the wrong interference of politics in literature and art creation, humanities and history makes the humanities subject to politics, and it can not survive under the rule of politics.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;I207.35
本文編號：2336306
[Abstract]:In 1951, shortly after the founding of New China, a major event occurred in the literary world, that is, Mao Zedong himself ordered a large-scale critique of the film "the biography of martial arts", which led to a profound impact on the development of the overall pattern of Chinese new culture. Prior to this, researchers have made a lot of achievements in the study of the biography of martial arts. This paper draws lessons from and expands the previous research results, and explores the merits and demerits of Mao Zedong's cultural strategy by using the theories of history, sociology, political science, literature and pedagogy, and pays attention to the use of new perspectives and methods. This paper makes an understanding and analysis of the complex relations among politics, economy and culture in the transitional society, in order to fully grasp and reveal the internal relations between the various factors behind the historical events. Wu Xun was once a very famous figure in history. He set up a school with the money he had earned in his life, so that many children in his hometown who could not afford to go to school were educated and promoted by the ruler as the representative of Confucian sages. The film, "the biography of martial arts", took into account the political factors of the time, and the script made some changes to the real historical figures and deeds, but it did not fundamentally change this basic concept. Therefore, this critical movement is in fact a criticism of the traditional Confucian culture at the ideological and cultural level, a cultural strategy that continues the radical anti-traditionalism since the May 4th Movement, and embodies the layers of material that have deepened since the modern times of China. System, the whole development process of cultural modernization. This paper takes Wu Xun as the protagonist, introduces his historical true features and the evolution of his cultural image, and combs the critical movement and its influence of the 1950 film, the Biography of Wu Xun. This paper briefly introduces the deep reflection of the government and academic circles on this event after the end of the Cultural Revolution. Because Mao Zedong's position in this movement can not be ignored, this paper focuses on the analysis of Mao Zedong's personal thought. Mao Zedong's cultural revolution and ideological criticism, the theory of class struggle in historical materialism, the political theory of literature and art, his neglect of the independence of literature and history from a political perspective, Through this key critical movement to be popularized and popularized, has had the extremely profound influence. In fact, Mao Zedong's thought and theory have deep historical roots and rationality, but the problem is that he regards a temporary, special and changing phenomenon as universal, permanent and fixed. As a result, the infiltrating and imperceptible thought became the dominant force to force indoctrination, and the excessive claim to the violent revolution led him to ignore the contradiction between the people's growing material and cultural needs and the backward productive forces, which had become the main contradiction in our country. However, the wrong interference of politics in literature and art creation, humanities and history makes the humanities subject to politics, and it can not survive under the rule of politics.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;I207.35
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 王曉瑜;;試析時代語境對電影劇本《武訓(xùn)傳》的塑造[J];太原師范學(xué)院學(xué)報(bào)(社會科學(xué)版);2006年04期
2 馮曉蔚;;《武訓(xùn)傳》批判前后[J];文史天地;2006年06期
3 馮曉蔚;;郭沫若與電影《武訓(xùn)傳》的批判[J];百年潮;2005年11期
4 謝昌余;;江青在《武訓(xùn)傳》事件中[J];黨史博采(紀(jì)實(shí));2009年11期
5 劉向上;;電影《武訓(xùn)傳》被禁內(nèi)幕[J];黨史縱橫;2011年06期
6 楊俊;;1951年上海批判電影《武訓(xùn)傳》運(yùn)動始末[J];史林;2007年02期
7 崔曉麟;;試析毛澤東批判武訓(xùn)和電影《武訓(xùn)傳》的原因[J];蘭州學(xué)刊;2006年06期
8 何思玉;對一樁教育公案的反思——武訓(xùn)辦義學(xué)的文化闡釋[J];開封教育學(xué)院學(xué)報(bào);1996年04期
9 劉卓;論武訓(xùn)精神的復(fù)合結(jié)構(gòu)[J];齊魯學(xué)刊;1986年03期
10 邢培華;雷鳳芹;;論陶行知的武訓(xùn)研究[J];南京曉莊學(xué)院學(xué)報(bào);2006年02期
本文編號：2336306
本文鏈接：http://sikaile.net/wenyilunwen/dianyingdianshilunwen/2336306.html
教材專著
