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抗战之初,国民政府的宣传部门并未提出明确的文艺政策,直到1942年才由张道藩提出了“三民主义文艺政策”。之所以以“三民主义文艺”而非在抗战期间具有天然合法性的“民族主义文艺”为旗帜,其原因可能有二:一是中共为促成抗日民族统一战线,曾宣称在抗战期间愿意奉行三民主义,因此“三民主义文艺政策”的提出会让左翼文人不敢轻议。二是在三十年代初,左翼阵营曾与“民族主义文艺”阵营有过激烈的交锋,所以选择“三民主义文艺”这一口号,也可能是为了避免重新搅起历史上的恩怨。但是从具体创作来看,所谓“三民主义文艺”仍然要靠民族话语来树立自身的合法性。
At the beginning of the war of resistance against Japan, the propaganda department of the National Government did not make a clear literary and art policy. Only by 1924 did Zhang Dafan put forward the “Three Principles of the People’s Literature and Art Policy.” The reason for this is that “Flag of Three Principles of the People” rather than “nationalistic literature and art”, which has natural legitimacy during the War of Resistance Against Japan, has its banner for two reasons. First, the CCP has proclaimed that in its resistance to Japan’s national united front, During the period, he was willing to adhere to the principle of “Three Principles of the People.” Therefore, the proposal of the “Three Principles of the People’s Literature and Art” would make the left-wing writers afraid to dismiss it. Second, in the early 1930s, the left-wing camp once had fierce clashes with the “nationalist literature and art” camp. Therefore, it is also possible that the slogan of selecting “Three People’s Principles of Literature and Art” be chosen to avoid re-stirring history resentment. However, from the point of view of concrete creation, the so-called “Three People’s Principles of Literature and Art” still needs to rely on national discourse to establish its own legitimacy.