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20世纪30年代,文艺工具性理论应时代要求而生,该理论强调文艺的工具性体现在对最广大人群的文化作用上,而这种文化作用是在人群对文艺的参与过程中产生的。现今,文艺工具性理论对文化艺术发展的现实仍具有指导性作用。要真正发挥文化艺术对社会的实际功能,就需要群体在对文化艺术的交流、互动中赋予文化艺术鲜活的发展动力。当代城市艺术节的群众文化活动形式是使文化艺术兴盛的新起点。以集体带个人、以群众文化带个体的艺术创造,将会对文化大发展起到举足轻重的作用。上海国际艺术节群众文化活动举办至今,依托地域文化特色积极展开了形式多样的群众性文化艺术展演活动,由此促成的艺术与人近距离的接触,为人们对文艺生活形成普遍的、近距离的感知、认同与参与提供了切实的机会,从而有利于发挥文艺工具性的现实意义。
In the 1930s, literary and artistic instrumentalism was born in response to the demands of the times. This theory emphasizes that the instrumentalism of literature and art is embodied in the cultural effect on the most extensive group of people, and this cultural effect is generated in the course of the crowd’s participation in literature and art. Nowadays, the theory of literary and instrumental tools still plays an instructive role in the development of culture and the arts. To truly bring into play the actual function of culture and the arts for the society requires the group to give fresh impetus to the development of culture and the arts in the exchange and interaction of culture and the arts. The form of mass cultural activities in contemporary urban arts festivals is a new starting point for the prosperity of culture and arts. To take collective with individuals to the mass culture with individual art creation, will play a decisive role in cultural development. Since the mass cultural activities of the Shanghai International Arts Festival have been held so far, relying on the regional cultural features, various forms of mass cultural and artistic performances have been actively carried out. The close contact between the arts and the people contributed to them has created a universal and close Awareness, identification and participation provide a real opportunity, which is conducive to the practical significance of literary tools.