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在20世纪40年代以延安文艺为代表的解放区文学创作中,知识分子群体的审美趣味因涉嫌小资情调而受到主流政治话语的排斥,无法得到充分的彰显。然而,审美趣味一旦形成就具有稳定性、持久性。尽管受到意识形态和作家主体双重的抑制,审美趣味仍在小说创作中留下了可待考察的痕迹。解放区小说中的一些人物形象以及创作主体的创作过程,就隐含了其独特的“审美趣味”。从审美趣味的角度,深入解读其时的小说创作,可以更好的理解人物形象的内涵和作家的创作活动。
In the literary creation of the Liberated Areas, represented by Yan’an literature and art in the 1940s, the aesthetic taste of intellectual groups was excluded from the mainstream political discourse due to the alleged petty bourgeois sentiment and could not be fully demonstrated. However, aesthetic tastes, once formed, are stable and persistent. Despite the dual suppression of ideology and author body, aesthetic taste still leaves traces to be investigated in novel creation. Some characters in the liberated area novels and the creative process of the creative subject imply their unique “aesthetic taste”. From the perspective of aesthetic taste, deeply reading the novel creation at the moment can better understand the connotation of the character image and the creative activities of the writer.