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在20世纪20年代日本无产阶级文学阵营中,出现了以鹿地亘为代表的政治艺术主张和以中野重治为代表的艺术至上主义主张这两种脱离大众的理论倾向。藏原惟人针对这两种倾向,提出了“艺术大众化”主张。由此,日本无产阶级文学阵营内,就“艺术大众化”的内容、对象、题材和艺术形式等内容进行了论争。该论争促进了日本无产阶级文学自律的发展,也进一步提升了纳普阵营内部对无产阶级文学问题的认识。日本艺术大众化论争,对我国左联作家文学理论和文学创作有较大影响。
In the proletarian literary camp of Japan in the 1920s, there emerged the theoretical tendency of separating themselves from the political and artistic ideas represented by Deer Genji and the artistic supremacist claims represented by Nakano Heavy Governance. In view of these two tendencies, Kiyonizu proposed the idea of “popularization of art”. As a result, the Japanese proletarian literature camp, on “popularization ” content, objects, themes and art forms and other content were contested. The debate promoted the development of Japanese proletarian literature self-discipline and further raised the awareness of the proletarian literary issues within the Napp camp. The controversy over the popularization of Japanese art has a great impact on literary theory and literary creation of the League of Leftist Writers in our country.