| DC 欄位 |
值 |
語言 |
| DC.contributor | 歷史研究所在職專班 | zh_TW |
| DC.creator | 胡秀雯 | zh_TW |
| DC.creator | Hsiu-Wen Hu | en_US |
| dc.date.accessioned | 2010-1-13T07:39:07Z | |
| dc.date.available | 2010-1-13T07:39:07Z | |
| dc.date.issued | 2010 | |
| dc.identifier.uri | http://ir.lib.ncu.edu.tw:88/thesis/view_etd.asp?URN=961305026 | |
| dc.contributor.department | 歷史研究所在職專班 | zh_TW |
| DC.description | 國立中央大學 | zh_TW |
| DC.description | National Central University | en_US |
| dc.description.abstract | 毛澤東去世以後，中國政治發生了重大轉折，在華國鋒和鄧小平兩股政治勢力的較量下，政治上對於文學的干涉，突然出現了一段真空期，控訴「四人幫」在「文革」時期造成人民傷害的官辦「傷痕文學」應運而起；能發表自己觀點的「民主牆」使文學干涉政治留下了空間，民辦刊物「傷痕文學」同期產生。
文化大革命十年的動亂，讓苦於生活匱乏的中國大陸人民在肉體和心靈上留下了深深的傷痕，厭倦無休無止的階級鬥爭運動，強烈地期待著改變，「撥亂反正」使文藝解禁。「傷痕文學」在華國鋒要求揭批「四人幫」罪行的鬥爭中興起，又在鄧小平要求平反冤、假、錯案運動中，有了更進一步的發展，形成文藝新潮流。但是「傷痕文學」所反應的社會陰暗現實面，與人民對民主的渴望，令中共高層難堪，甚至可能危及中共政權的存亡。鄧小平在取得最高權力後，於1979年3 月提出所謂的〈堅持四項基本原則〉，為新興的思想解放運動劃下底限，文藝政策也由「放」到「收」。
「傷痕文學」在反左中興起，又在反右中漸趨式微，足見中共「文藝為政治服務」的方針始終沒變，本論文「傷痕文學」的 政治意義大於文學意義。
| zh_TW |
| dc.description.abstract | There was a huge change in Chinese Politics after Mao’s Last Pevolution. The Politic intervention on literature suddenly became little, while two new political leaders, Hua Guo Feng and Deng Xiao Pin, were busying for power struggling. The hurts generations in both official and civil periodicals within topic focus on accusing the harm of people caused by the “Four People Group” during the culture revolution had thus raised to the public, and the ＂Wall of democracy＂ had also given hurts generations a space to intervene politics as well.
The 10-yeal-long culture revolution had left a deep scar on those life exhausted Chinese people, both mentally and physically. People were tired of the endless class struggle and were expecting for a new change. ＂Guide to the right from chaos＂ deliberated literature. The hurts generations rose by a movement, asked by Hue Guo Feng, of unveiling the sin and crime made from the“Four People Group”. It developed even further when Deng Xiao Pin demand to appeals to cases miss judged before, and that eventually formed a new stream of literature.
The hurts generations reflected a dark side of real society and a hope of democracy though, and that embarrassed the Chinese Communist’s Paramount, for it might endanger the Chinese Communist’s Regume. After Deng Xiao Pin was in power, he raised so called ＂Insistence of four basic principles＂. That marked a limited line for the new idea deliberated movement. The policy of the art of literature was then drawn back.
The hurts generations became prosper by Deng’’s anti-left movement and then went downward by Den’’s anti-right policy. It is quiet obvious that the Chinese Communist’’s policy of “Literature serves for Politic＂ has never changed. The hurts generations of this article means more in politic than in literature itself.
| en_US |
| DC.subject | 文藝為政治服務 | zh_TW |
| DC.subject | 民主牆 | zh_TW |
| DC.subject | 傷痕文學 | zh_TW |
| DC.subject | 撥亂反正 | zh_TW |
| DC.subject | Hurts generations | en_US |
| DC.subject | Guide to the right from chaos | en_US |
| DC.title | 改革開放與傷痕文學興衰之研究（1977-1979） | zh_TW |
| dc.language.iso | zh-TW | zh-TW |
| DC.title | Research for the Prosper and Downward of Hurts Generations and the Open Reform Policy (1976-1979) | en_US |
| DC.type | 博碩士論文 | zh_TW |
| DC.type | thesis | en_US |
| DC.publisher | National Central University | en_US |