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描写冀中根据地抗日斗争的长篇小说《腹地》1949年后出版不久即受到批判,成为建国后的第一部禁书,沉寂57年后重见天日。《腹地》的命运提供了一个对中国文艺理论的内核进行纵深考察的历史视角。《腹地》沉寂的启示在于,那个曾长期支配中国文艺并导致概念化、公式化泛滥盛行的思想体系,其所依据的意识形态理论并不符合马克思主义的唯物史观。在这种意识形态的压控下,真实的社会生活除了被设定为禁区之外就是以粉饰或歪曲的形式呈现出来;考虑到20世纪前半期微弱演进和后半期停滞破坏的总体过程,可以说,认识论美学和现实主义艺术根本没有发展起来。威廉斯的“感觉结构”理论填补了从历史本体到现实主义之间的长期遗留的巨大空白,值得关注和借鉴。
The hinterland, the novel depicting the anti-Japanese war in the base areas of Hebei Province, was published shortly after its publication in 1949 and became the first forbidden book after the founding of the People’s Republic. It was silence 57 years later. The fate of the “hinterland” provides a historical perspective on the depth of the core of Chinese literary theory. The revelation of “hinterland” silence lies in the fact that the ideological system on which the long-term domination of Chinese literature and art leads to the conceptualization and the proliferation of formulary is not based on the Marxist historical materialism. Under this ideological pressure, the real social life, except for the restricted area, is presented in a whitewash or distorted form. Taking into account the general process of the weak evolution in the first half of the 20th century and the stagnation and destruction in the latter half of the 20th century, Said that the epistemological aesthetics and the art of realism simply did not develop. Williams ’ “feeling structure ” theory has filled the huge gap between the historical ontology and the realism between the long-term legacy, worthy of attention and reference.