论文部分内容阅读
在20世纪中国的特定语境中,革命与闲适似乎被置于对立的地位。一个文艺家如果主张闲适、余裕之类的文学,必被主流文艺贴上资产阶级趣味的标签而受口诛笔伐。在革命文艺家看来,革命是严肃的、紧张的、艰险的,容不得半点闲情逸致;而闲适则是悠闲的、散漫的、自由主义的,甚至是消颓的,它会麻痹人们的思想,消磨战斗的意志。因此,革命是不屑与闲适为伍的。然而,当革命与闲适果真不期而遇,会怎样呢?楼适夷与日本白桦派代表作家志贺直哉的数次邂逅,为我们提供了一个极好的解剖范本。
In the specific context of China in the twentieth century, revolution and leisure seem to be placed in antithesis. If a literary artist favors idling, Yu Yu and other kinds of literature will be subject to criticism and opposition by the label of the mainstream literature and art affixed to the bourgeois interest. In the view of revolutionary writers and artists, the revolution is a serious, intense and dangerous one, which can not tolerate the slightest leisure time. While leisure is leisurely, casual, liberal and even decadent, it can paralyze people’s thoughts, Kill the fighting will. Therefore, the revolution is disdain and idleness. However, what happens when revolution and leisure really happen? Several encounters between Lou Chihiro and Japanese birch sent representative writer Shiga Naoya, providing us with an excellent model of anatomy.