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支克坚的中国现代文艺思潮论始终贯穿着一条主线,这就是现实主义从启蒙到“独尊”的质性变异;根据这条主线,他涉及了革命文学的政治化,革命文学对小资产阶级和个性主义的批判,对自由主义文学的排斥,对文艺作为人的一种特殊的精神活动的否定,以及《讲话》的体系矛盾乃至走向完全封闭的过程。所有这些问题,实际上都指向了古典主义范畴,指向了古典主义向现代的延滞及其对现代审美意识的合围,而这恰恰是20世纪乃至当今文艺思潮历史发展的真实过程。
According to this line, he has dealt with the politicization of revolutionary literature and the revolution in literature The criticism of the petty bourgeoisie and individualism, the exclusion of liberal literature, the negation of literature and art as a special spiritual activity of man as well as the system contradiction of “speech” and even the complete closure. All of these problems actually point to the category of classicism, pointing to the lag of the classicism toward the present and its encirclement of the modern aesthetic awareness, which is exactly the true process of the historical development of the twentieth-century and even today’s cultural and ideological trends.