抗日战争时期延安秧歌剧研究
发布时间：2018-09-05 14:42
【摘要】： 本文探讨的“延安秧歌剧”乃抗日战争后期(1942-1945)陕甘宁边区产生的“新秧歌剧”。延安秧歌剧在表现形式、风格类型上接近民间秧歌中的“小场秧歌”和陕北民间“秧歌戏”;其舞蹈来自民间秧歌,但其音乐则主要来自眉户。延安秧歌剧剔除了民间秧歌中的“骚情”,力图反映陕甘宁边区的现实斗争;在表演方式、角色行当、人物造型、服装道具、舞台布景上也对民间秧歌进行了“改造”。总之,延安秧歌剧脱胎于“旧秧歌”,但在诸多方面又有别于民间秧歌,充分体现出了《在延安文艺座谈会上的讲话》(下简称《讲话》)精神。 延安秧歌运动的兴起与发展有其复杂的历史语境,不仅是抗日战争时期延安文艺运动中“民族化”、“大众化”探索的结果,而且还与1942年延安“整风”运动和其后的《讲话》有着密切的联系。在《讲话》之前,延安戏剧为适应战争环境已展现出“民族化”、“大众化”的探索,但在1939年底后,延安戏剧运动中出现了“演大戏”和“关门提高”倾向,偏离了“民族化”、“大众化”的道路。延安秧歌剧的兴起,无疑得益于“演大戏”和“关门提高”倾向的纠正。但“唱大戏”和“关门提高”不仅为秧歌剧提供了一个“反面”教材,而且还为秧歌剧的出现提供了技术上的储备。更重要的是,《讲话》之前延安文艺工作者对包括旧秧歌在内的民间文艺形式的利用已积累了宝贵的经验。1942年5月,毛泽东在“整风”中发表《讲话》后,“民族化”、“大众化”再度成为延安文艺的话语中心,文艺工作者走出“小鲁艺”,走进“大鲁艺”。延安秧歌剧作为一个具有“革命的政治内容”、“民族化”、“大众化”特点的歌舞剧,正是文艺界“整风”运动的重要成果,也为《讲话》所蕴含的革命文艺理论提供了注脚。抗日战争后期的1943年至1945年,从“秧歌下乡”到“乡下秧歌”,延安秧歌剧发展迅速。两年中不仅产生了数以百计的剧目,而且其艺术水平有了较大提高,其表演形式也有了较大创新,其艺术水平也得到较大提高。以《惯匪周子山》为代表,秧歌剧已展现出向新型歌剧的靠拢,并为“新歌剧”《白毛女》的产生提供重要的铺垫。总之,1937-1942年的抗战前期可看作延安秧歌剧的准备时期。从《讲话》到《兄妹开荒》的诞生是延安秧歌剧的发生时期。从1943年夏到1945年抗战胜利则是延安秧歌剧的发展时期。 延安秧歌剧虽然是一种融戏剧、音乐、舞蹈为一体的综合艺术形式,但其创作却是以剧作家为主导的。延安秧歌剧音乐既不像歌剧音乐那样,具有一个完整的、且符合既定原则的音乐结构,又不同于眉户、秧歌戏等陕北民间戏曲音乐,呈现出戏曲音乐的程式性。在大多数剧目中,音乐不过是一些缺乏关联性的唱段的连接。这就意味着,绝大部分剧目只有一个较完整的戏剧结构,并不存在一个完整的音乐结构。延安秧歌剧的音乐大多都来自眉户曲牌以及道情、陕北秧歌戏和陕北民歌音调,继承了中国音乐“选曲填词”的传统,但其中也不乏“改编”、“编曲”的成分。总体而言,延安秧歌剧音乐体现出以下特征:第一,以单声为主、以声乐为主的音乐构成。延安秧歌剧音乐以单声部的独唱为主,合唱段落较为少见;以声乐的唱段为主,而独立的器乐段则较为少见。第二,“选曲填词”、“一曲多用”的创作模式。延安秧歌剧音乐主要来自既有音调(主要是眉户曲牌),其创作者根据艺术表现的需要填上不同的唱词,并对音调进行相应的改动。第三,以陕北民间音乐风格为主的音乐风格。延安秧歌剧的音乐呈现出陕北民间音乐中的“苦音”徵调式音阶、以“纯四度”为骨干音程的“音程框架”及基于眉户曲牌的“音调模式”,总体上具有浓郁的地域风格。尽管绝大多数秧歌剧中并不存在一个与情节发展、戏剧矛盾展开相吻合的音乐结构,但并不意味着其音乐完全脱离了戏剧。大多数唱段中音调的选用都考虑到了情绪变化和人物性格,如对眉户曲牌的选用就与眉户曲牌艺术表现的既有规定性相符合;少数剧目的整体音乐设计也与戏剧的情节发展与矛盾展开相吻合。 延安秧歌剧不仅具有革命文化特征、地域文化特征,而且还具有基于延安知识分子群体的文人文化特征,体现出文化的多元性。延安秧歌剧作为“翻身秧歌”、“斗争秧歌”、“胜利秧歌”,具有“革命的政治内容”,以“歌颂人民,歌颂劳动,歌颂革命战争。它以军民团结、对敌斗争、组织劳动力、改造二流子、增加生产、破除迷信、提倡卫生等为主题”,旨在表现陕甘宁边区的现实斗争。但更为重要是,延安秧歌剧继承和发展了“五四”以后“民族化”和“大众化”的革命文艺传统,体现出了那种以“革命”及其政治目的为终极目标的“实用理性”。地域特色是延安秧歌剧最重要的底色。这无疑得益于“民族化”和“大众化”的追求。延安秧歌剧的地域文化特征可概括为两个范畴:“原始”与“狂欢”。所谓“原始”就是语言形式上的“原生态”,就在延安秧歌剧的音乐风格、人物造型、表演模式、唱词和对白仍保持着陕北民间艺术的原汁原味;所谓“狂欢”就是精神气质上的“喜剧性”,就在于延安秧歌剧表达出了民间艺术那种特有的诙谐和幽默。延安秧歌剧虽然是一种“农民文化”,但又毕竟是延安文人与陕北民间互动、对话的结果,故不失人文文化特征。就像其人文情趣不足以遮蔽其地域色彩一样,其地域色彩也不能掩盖其文人情趣。这种文人文化特征就是那种蕴含在其表现形式中的“法则”和对民间秧歌“狂欢”的“规训”。但其文人文化特征的体现也是以“革命”文艺理论为依托的。就像其地域文化特征与革命文化特征保持耦合互动一样,其文人文化特征与革命文化特征也有着关联。正是在“革命”、“民间”、“知识分子”三者的相互关联和指涉中,延安秧歌剧获得了生存空间和语境。延安秧歌剧体现出了典型的革命文化特征,强烈的地域文化特征,也散发出了微弱的知识分子气息。 延安秧歌剧是20世纪40年代陕甘宁边区产生的一种歌舞艺术,是20世纪中国一个复杂的文化现象。延安秧歌剧的产生和发展是以中国革命的需要和抗日战争时期陕甘宁边区的现实斗争为出发点和最终目的的,具有一切服从革命、一切服从抗战的终极性。因此,延安秧歌剧反映出了抗日战争后期陕甘宁边区的斗争生活,作为一种政治宣传和教育形式,满足了陕甘宁边区现实斗争的需要。甚至可以说,秧歌运动本身就是陕甘宁边区现实斗争的一部分,因为其产生和发展无疑也是延安的文化斗争为契机的。如果说“乡下秧歌”是力图使民间秧歌“改造”成一种新的农民艺术,一种“表现了新的群众的时代”的艺术,那么“秧歌下乡”则旨在将秧歌成为一种有别于“左翼”文艺的、真正的革命文艺,并使之成为“改造”知识分子的熔炉。延安秧歌剧的政治指向决不仅限于其思想主题的政治取向,而且还在于对陕甘宁边区农民艺术的“改造”和对知识分子及其知识分子文艺的“改造”。延安秧歌运动是1942年《讲话》发表后掀起的,故从根本上说,秧歌剧是“整风”运动的重要成果,其产生与发展和“整风”运动中“审干”密切相关。这就意味着,知识分子“改造”了秧歌剧,而秧歌剧却又“改造”了知识分子。延安秧歌剧作为20世纪中国一个重要的文化现象,对20世纪中国音乐的发展产生了积极影响。但更重要的是,延安秧歌剧是20世纪中国革命文艺第一个真正的“范本”,因为它第一次真正实现了革命文艺理论与实践的结合。延安秧歌剧和《讲话》一道,对20世纪中国革命文艺理论与实践产生了重要影响,其艺术特征和审美取向在后来的多种中国文艺形式中得到了回应。 延安秧歌是一种典型的革命文艺形式,具有“大众化”、“民族化”的审美特征,体现出了中国新民主主义革命的要求和指向。延安秧歌剧具有鲜明地域色彩,其音乐具有浓郁的陕北民间音乐风格,并呈现出文化的多元性。延安秧歌剧是一种特定历史语境中产生的艺术形式,揭示了陕甘宁边区的现实斗争,并与延安“整风”运动有着密切联系,在20世纪中国文艺中具有特殊地位,对此后中国革命文艺的发展产生了重要影响。
[Abstract]:The "Yan'an Yangko" discussed in this paper is the "new Yangko" produced in the Shaanxi-Gansu-Ningxia Border Region in the late period of the Anti-Japanese War (1942-1945). Yan'an Yangko is similar in form and style to the "Xiaochang Yangko" in the folk Yangko and the "Yangko Opera" in northern Shaanxi; its dance comes from the folk Yangko, but its music mainly comes from Meihu. The Yangko opera eliminates the "coquettish feelings" in folk Yangko and tries to reflect the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It also "transforms" the folk Yangko in the performance mode, the role line, the character shape, the costume prop, and the stage setting. In short, the Yan'an Yangko opera was born out of the "old Yangko", but it is different from the folk Yangko in many aspects. It embodies the spirit of the speech at the Yanan Arts Forum.
The rise and development of Yan'an Yangko Movement has its complicated historical context. It is not only the result of the exploration of "nationalization" and "popularization" in the Yan'an literary and artistic movement during the Anti-Japanese War, but also closely related to the "rectification" movement in 1942 and the subsequent "speech". It shows the exploration of nationalization and popularization, but after the end of 1939, there appeared the tendency of "performing great operas" and "closing the door to improve" in Yan'an drama movement, which deviated from the road of "nationalization" and "popularization". More importantly, before the Speech, Yan'an literary and artistic workers had accumulated valuable experience in utilizing folk literary and artistic forms, including the old Yangko. In May 1942, Mao Zedong wrote in "The Speech of the Communist Party of China" "Nationalization" and "Popularization" became the discourse center of Yan'an literature and art again after the "Speech" in the Rectification Movement. Literature and art workers went out of "Xiaolu Art" and into "Dalu Art". From 1943 to 1945, Yan'an Yangko Opera developed rapidly from Yangko to Yangko in the countryside. During the two years, not only hundreds of operas were produced, but also their artistic level was greatly improved and their performance forms were also improved. In a word, the early period of 1937-1942 can be regarded as the preparatory period of Yan'an Yangko Opera. From "Speech" to "Brothers and Sisters Opening up the Waste Land" The birth of Yan'an Yangko was the period of its occurrence, and the victory of the War of Resistance from the summer of 1943 to 1945 was the period of its development.
Although Yan'an Yangkou Opera is a comprehensive art form which combines drama, music and dance, its creation is dominated by playwrights. The music of Yan'an Yangkou Opera is neither like opera music, but has a complete musical structure which conforms to established principles, nor is it different from the folk opera music of northern Shaanxi such as Meihu and Yangkou Opera. In most of the repertoire, music is only the connection of some unrelated arias. This means that most of the repertoire has only a relatively complete drama structure and does not have a complete music structure. The tones of northern Shaanxi folk songs have inherited the tradition of "choosing songs and filling words" in Chinese music, but there are also some elements of "adapting" and "arranging songs". Second, the creation mode of "choosing songs to fill in lyrics" and "using one song for many purposes". The music of Yan'an Yangko Opera mainly comes from the existing tones (mainly Meihu Qupai), whose creators fill in different lyrics and make corresponding changes to the tones according to the needs of artistic expression. The music of Yan'an Yangko Opera is characterized by the "bitter tone" scale, the "interval frame" with the "pure quaternion" as the backbone interval and the "tone pattern" based on Meihu Qupai, which has a strong regional style in general. There is no musical structure that is consistent with plot development and drama contradiction development, but it does not mean that music is completely divorced from drama. The overall music design is also consistent with the plot development and contradiction development of the drama.
Yan'an Yangko not only has the characteristics of revolutionary culture and regional culture, but also has the characteristics of humanistic culture based on Yan'an intellectuals, reflecting the cultural diversity. Yan'an Yangko, as a "turn over Yangko", "struggle Yangko", "victory Yangko", has "revolutionary political content" to "praise the people, praise the people". Labor is a glorification of the revolutionary war.Its theme is unity between the army and the people, struggle against the enemy, organization of labor force, transformation of the second-class, increase production, break superstition, and advocate health.It aims to show the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region.More importantly, Yan'an Yang Opera has inherited and developed the "nationalization" and "popularization" revolution after the May 4th Movement. The literary tradition embodies the "practical rationality" with the ultimate goal of "revolution" and its political purpose. Regional characteristics are the most important background of Yan'an Yangopera, which undoubtedly benefits from the pursuit of "nationalization" and "popularization". The so-called "primitive" is the "original ecology" in the form of language, in Yan'an Yangopera music style, character modeling, performance mode, lyrics and dialogue still retain the original flavor of northern Shaanxi folk art; the so-called "carnival" is the spiritual temperament of "comedy", is that Yan'an Yangopera expresses the special characteristics of folk art. Although Yan'an Yangopera is a kind of "peasant culture", it is the result of the interaction and dialogue between Yan'an literati and the people of northern Shaanxi, so it does not lose its cultural characteristics. Just as its humanistic interest can not cover up its regional color, its regional color can not cover up its literati interest. The "rule" contained in its manifestation and the "discipline" for the "carnival" of folk Yangko are also embodied in the "revolutionary" literary theory. Just as its regional cultural characteristics and revolutionary cultural characteristics remain coupled and interactive, its cultural characteristics and revolutionary cultural characteristics also have their own. It is precisely in the "revolution", "folk" and "intellectuals" of the three interrelated and referential, Yan'an Yangko opera has obtained the living space and context. Yan'an Yangko opera reflects the typical characteristics of revolutionary culture, strong regional cultural characteristics, but also emitted a weak flavor of intellectuals.
Yan'an Yangkou is a kind of singing and dancing art produced in the Shaanxi-Gansu-Ningxia Border Region in the 1940s, and it is a complicated cultural phenomenon in China in the 20th century. The emergence and development of Yan'an Yangkou is based on the needs of the Chinese revolution and the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region during the Anti-Japanese War as its starting point and ultimate goal. It has all obedience to the revolution and Therefore, Yan'an Yangko Opera reflects the struggle life of the Shaanxi-Gansu-Ningxia Border Region in the later period of the War of Resistance Against Japan. As a form of political propaganda and education, it satisfies the needs of the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It is doubtful that the cultural struggle in Yan'an is also an opportunity. If the "rural Yangko" is an attempt to "transform" the folk Yangko into a new peasant art, a "new era of the masses" of art, then the "Yangko to the countryside" is aimed at making Yangko a literary and artistic, truly revolutionary art, different from the "left-wing" literature and art, and to make it a "new era of the masses" of art. The political orientation of Yan'an Yangge Opera is not only limited to the political orientation of its ideological theme, but also lies in the "transformation" of the peasant art in the Shaanxi-Gansu-Ningxia Border Region and the "transformation" of the intellectuals and their intellectuals'literature and art. Essentially speaking, Yangko is an important achievement of the rectification movement. Its emergence and development are closely related to the "examination of cadres" in the rectification movement. This means that intellectuals have "transformed" Yangko, while Yangko has "transformed" intellectuals. The development of Chinese music has exerted a positive influence. But more importantly, Yan'an Yangge Opera is the first true "model" of Chinese revolutionary literature and art in the 20th century, because it has truly realized the combination of revolutionary literature and art theory and Practice for the first time. Its artistic characteristics and aesthetic orientation have been responded to in various forms of Chinese literature and art.
Yan'an Yangko is a typical form of revolutionary literature and art, with the aesthetic characteristics of "popularization" and "nationalization", reflecting the requirements and direction of China's new democratic revolution. An artistic form produced in a specific historical context reveals the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region and is closely related to the "rectification" movement in Yan'an. It has a special position in Chinese literature in the 20th century and has exerted an important influence on the development of Chinese revolutionary literature and art since then.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J822
本文编号：2224592
[Abstract]:The "Yan'an Yangko" discussed in this paper is the "new Yangko" produced in the Shaanxi-Gansu-Ningxia Border Region in the late period of the Anti-Japanese War (1942-1945). Yan'an Yangko is similar in form and style to the "Xiaochang Yangko" in the folk Yangko and the "Yangko Opera" in northern Shaanxi; its dance comes from the folk Yangko, but its music mainly comes from Meihu. The Yangko opera eliminates the "coquettish feelings" in folk Yangko and tries to reflect the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It also "transforms" the folk Yangko in the performance mode, the role line, the character shape, the costume prop, and the stage setting. In short, the Yan'an Yangko opera was born out of the "old Yangko", but it is different from the folk Yangko in many aspects. It embodies the spirit of the speech at the Yanan Arts Forum.
The rise and development of Yan'an Yangko Movement has its complicated historical context. It is not only the result of the exploration of "nationalization" and "popularization" in the Yan'an literary and artistic movement during the Anti-Japanese War, but also closely related to the "rectification" movement in 1942 and the subsequent "speech". It shows the exploration of nationalization and popularization, but after the end of 1939, there appeared the tendency of "performing great operas" and "closing the door to improve" in Yan'an drama movement, which deviated from the road of "nationalization" and "popularization". More importantly, before the Speech, Yan'an literary and artistic workers had accumulated valuable experience in utilizing folk literary and artistic forms, including the old Yangko. In May 1942, Mao Zedong wrote in "The Speech of the Communist Party of China" "Nationalization" and "Popularization" became the discourse center of Yan'an literature and art again after the "Speech" in the Rectification Movement. Literature and art workers went out of "Xiaolu Art" and into "Dalu Art". From 1943 to 1945, Yan'an Yangko Opera developed rapidly from Yangko to Yangko in the countryside. During the two years, not only hundreds of operas were produced, but also their artistic level was greatly improved and their performance forms were also improved. In a word, the early period of 1937-1942 can be regarded as the preparatory period of Yan'an Yangko Opera. From "Speech" to "Brothers and Sisters Opening up the Waste Land" The birth of Yan'an Yangko was the period of its occurrence, and the victory of the War of Resistance from the summer of 1943 to 1945 was the period of its development.
Although Yan'an Yangkou Opera is a comprehensive art form which combines drama, music and dance, its creation is dominated by playwrights. The music of Yan'an Yangkou Opera is neither like opera music, but has a complete musical structure which conforms to established principles, nor is it different from the folk opera music of northern Shaanxi such as Meihu and Yangkou Opera. In most of the repertoire, music is only the connection of some unrelated arias. This means that most of the repertoire has only a relatively complete drama structure and does not have a complete music structure. The tones of northern Shaanxi folk songs have inherited the tradition of "choosing songs and filling words" in Chinese music, but there are also some elements of "adapting" and "arranging songs". Second, the creation mode of "choosing songs to fill in lyrics" and "using one song for many purposes". The music of Yan'an Yangko Opera mainly comes from the existing tones (mainly Meihu Qupai), whose creators fill in different lyrics and make corresponding changes to the tones according to the needs of artistic expression. The music of Yan'an Yangko Opera is characterized by the "bitter tone" scale, the "interval frame" with the "pure quaternion" as the backbone interval and the "tone pattern" based on Meihu Qupai, which has a strong regional style in general. There is no musical structure that is consistent with plot development and drama contradiction development, but it does not mean that music is completely divorced from drama. The overall music design is also consistent with the plot development and contradiction development of the drama.
Yan'an Yangko not only has the characteristics of revolutionary culture and regional culture, but also has the characteristics of humanistic culture based on Yan'an intellectuals, reflecting the cultural diversity. Yan'an Yangko, as a "turn over Yangko", "struggle Yangko", "victory Yangko", has "revolutionary political content" to "praise the people, praise the people". Labor is a glorification of the revolutionary war.Its theme is unity between the army and the people, struggle against the enemy, organization of labor force, transformation of the second-class, increase production, break superstition, and advocate health.It aims to show the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region.More importantly, Yan'an Yang Opera has inherited and developed the "nationalization" and "popularization" revolution after the May 4th Movement. The literary tradition embodies the "practical rationality" with the ultimate goal of "revolution" and its political purpose. Regional characteristics are the most important background of Yan'an Yangopera, which undoubtedly benefits from the pursuit of "nationalization" and "popularization". The so-called "primitive" is the "original ecology" in the form of language, in Yan'an Yangopera music style, character modeling, performance mode, lyrics and dialogue still retain the original flavor of northern Shaanxi folk art; the so-called "carnival" is the spiritual temperament of "comedy", is that Yan'an Yangopera expresses the special characteristics of folk art. Although Yan'an Yangopera is a kind of "peasant culture", it is the result of the interaction and dialogue between Yan'an literati and the people of northern Shaanxi, so it does not lose its cultural characteristics. Just as its humanistic interest can not cover up its regional color, its regional color can not cover up its literati interest. The "rule" contained in its manifestation and the "discipline" for the "carnival" of folk Yangko are also embodied in the "revolutionary" literary theory. Just as its regional cultural characteristics and revolutionary cultural characteristics remain coupled and interactive, its cultural characteristics and revolutionary cultural characteristics also have their own. It is precisely in the "revolution", "folk" and "intellectuals" of the three interrelated and referential, Yan'an Yangko opera has obtained the living space and context. Yan'an Yangko opera reflects the typical characteristics of revolutionary culture, strong regional cultural characteristics, but also emitted a weak flavor of intellectuals.
Yan'an Yangkou is a kind of singing and dancing art produced in the Shaanxi-Gansu-Ningxia Border Region in the 1940s, and it is a complicated cultural phenomenon in China in the 20th century. The emergence and development of Yan'an Yangkou is based on the needs of the Chinese revolution and the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region during the Anti-Japanese War as its starting point and ultimate goal. It has all obedience to the revolution and Therefore, Yan'an Yangko Opera reflects the struggle life of the Shaanxi-Gansu-Ningxia Border Region in the later period of the War of Resistance Against Japan. As a form of political propaganda and education, it satisfies the needs of the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region. It is doubtful that the cultural struggle in Yan'an is also an opportunity. If the "rural Yangko" is an attempt to "transform" the folk Yangko into a new peasant art, a "new era of the masses" of art, then the "Yangko to the countryside" is aimed at making Yangko a literary and artistic, truly revolutionary art, different from the "left-wing" literature and art, and to make it a "new era of the masses" of art. The political orientation of Yan'an Yangge Opera is not only limited to the political orientation of its ideological theme, but also lies in the "transformation" of the peasant art in the Shaanxi-Gansu-Ningxia Border Region and the "transformation" of the intellectuals and their intellectuals'literature and art. Essentially speaking, Yangko is an important achievement of the rectification movement. Its emergence and development are closely related to the "examination of cadres" in the rectification movement. This means that intellectuals have "transformed" Yangko, while Yangko has "transformed" intellectuals. The development of Chinese music has exerted a positive influence. But more importantly, Yan'an Yangge Opera is the first true "model" of Chinese revolutionary literature and art in the 20th century, because it has truly realized the combination of revolutionary literature and art theory and Practice for the first time. Its artistic characteristics and aesthetic orientation have been responded to in various forms of Chinese literature and art.
Yan'an Yangko is a typical form of revolutionary literature and art, with the aesthetic characteristics of "popularization" and "nationalization", reflecting the requirements and direction of China's new democratic revolution. An artistic form produced in a specific historical context reveals the realistic struggle in the Shaanxi-Gansu-Ningxia Border Region and is closely related to the "rectification" movement in Yan'an. It has a special position in Chinese literature in the 20th century and has exerted an important influence on the development of Chinese revolutionary literature and art since then.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J822
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