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一看《上海一家人》上半部(26集),我们获得了这样的认识:旧中国二十年代至四十年代末风云变幻的生存环境,对于绝大多数中国人来说,是一种苦难和不幸。但能在如此不人道、不稳定又缺乏各种秩序的生存环境中挣扎奋斗,确实是中国人耐心、韧性和聪明才智的证明。《上海一家人》的编剧黄允把一个孤儿成长和奋斗的人生经历当作故事的主线,其意图是塑造一个足以表现中国人优秀品质的理想的中国女性。我在这里提出《上海一家人》中的李若男具有编剧赋予的理想主义的色彩,并无贬意。尤其是在当今时代,我们不正是需要“理想”这一支柱来支撑人们的精神世界吗?因此,我们今天看《上海一家人》中的李若男,对于她表现出来的理想主义色彩是能够理解的。
When we look at the upper part of the “Shanghai One Family” (Episode 26), we get the recognition that the changing living environment of the old China from the 1920s to the late 1940s is a kind of habitat for most Chinese people Suffering and misfortune. However, being able to struggle in an environment that is so inhuman, unstable and lacking in order is indeed proof of the patience, resilience and ingenuity of the Chinese people. Huang Yun, the writer of the Shanghai One Family, takes the life experiences of an orphan to grow and struggle as the main line of story. The intention is to create an ideal Chinese woman who can show the excellent quality of the Chinese people. Here, I propose that Li Ruonan in “Shanghai’s Family” has the idealism that the screenwriter confers. There is no depreciation. Especially in today’s time, do we not just need the pillar of “ideal” to support people’s spiritual world? Therefore, we see Li Ruo-nan in “Shanghai’s One Man” today as capable of comprehending the idealism she has shown of.