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苏联战争文学中的列宁格勒围困主题长期以来是一片禁区。无论在战时还是战后,凡涉及列宁格勒围困的文学作品都受到了特别“照顾”。通过整理分析目前已解密的有关苏联审查制度与列宁格勒围困主题文学关系的档案材料和文学史资料,结合对苏联女诗人别尔戈丽茨的《被囚禁的日记》的解读,列宁格勒围困文学存在的历史文化语境得以初步重现。而后,在这个历史文化语境中我们对别尔戈丽茨的有关生平与创作进行重新审视后发现,诗人的身份也跟着发生了变化:她从过去那个歌颂列宁格勒围困、歌颂英雄主义的苏联社会主义现实主义经典女诗人、“被围之城的缪斯”变成了另一个视围困为人道主义灾难的见证人和无法说出全部真话的“被囚禁的缪斯”。进而,别尔戈丽茨的列宁格勒围困主题创作在新的时空视域中被赋予了新的现实意义,即由对战争创伤的记忆转化为对生命价值的观照。
The siege of Leningrad in the Soviet war literature has long been a forbidden zone. Literary works involving the siege of Leningrad received special “care” both during and after the war. By sorting out and analyzing the archival materials and literary history materials that have been declassified so far in relation to the themed literature on the siege of the Soviet Union and the siege of Leningrad and the interpretation of the “captive diary” by the Soviet woman poet Bergegords, Leningrad The historical and cultural contexts in which the beleaguered literature exists can be initially reproduced. Then, in this historical and cultural context, we reexamine the life and creation of Bergeritz and find out that the identity of the poet has also changed. From the past she praised Leningrad siege and heroism The classic poet of the Soviet Socialist Realism, “the muse of the walled city,” has become another “muse” imprisoned as a witness to the humanitarian catastrophe and a man who can not tell the truth. ". Furthermore, the bereiding of Leningrad’s bespectacled theme by Bergegorz was given a new realistic meaning in the new space-time vision, that is, the memory of the trauma of the war transformed into the consideration of the value of life.