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1942-1943年间,延安文艺界在对王实味及其杂文《野百合花》等的批判中,初步形成了“大批判”话语风貌;而1958年的“再批判”运动,批评者除了对毛泽东亲自审改的“编者按语”进行复述、转述和延伸外,更发展了延安批评的特点,形成了更为纯熟的“大批判”文艺批评模式:以政治定性为思维基点,以抽象推论和空洞说教为主要论证方法;以上纲上线的批判为基本构架,罔顾事实,曲解作品原意;以人身攻击代替学术批评。虽然“大批判”式文艺批评已随极左思潮的消散而被历史尘封,然而还有必要警惕其以其他变体还魂。
From 1942 to 1943, the Yan’an literary and art circles initially formed the discourse style of “critical judgment” in the critique of Wang Shiwei and his essay “wild lilies.” In 1958, critics In addition to rehearse, rendition and extension of the “Editor’s Notes” edited by Mao Zedong personally, the characteristics of Yan’an’s criticism were further developed and a more sophisticated “Critique of Criticism” literary and art criticism mode was established: based on political characterization, , With abstract reasoning and empty preaching as the main method of argumentation; the above outline of the on-line critique as the basic framework, regardless of the facts, misinterpreting the original intention of the work; personal attacks instead of academic criticism. Although “Criticism ” literary criticism has been dusty with the disappearance of the ultra-leftist ideology, however, it is still necessary to be wary of its resurrection with other variants.