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中国马克思主义文艺理论的特殊性往往因其与苏联马克思主义文艺理论的渊源而没有得到切实的厘清。本文从中苏文艺理论中“民族形式”命题的比较入手,认为中国“民族形式”命题并非等同于苏联“民族形式”命题,而是在特殊历史条件下对苏联文艺理论的误读和创造性转化。苏联“民族形式”命题内在的深刻矛盾使其在实践中名实难副,而中国马克思主义者将民间形式推崇为民族形式,充分发挥了在以往马克思主义文艺理论中被忽略与低估的民间文艺及其形式的巨大政治作用,不仅是对苏联理论的重构与超越,更是对世界马克思主义文艺理论体系的拓展与创新。
The particularity of the Chinese Marxist theory of literature and art is often not clearly clarified because of its origins with the Soviet Marxist theory of literature and art. This paper starts with the comparison of the propositions of “national forms” in the theory of literary and art in China and the Soviet Union and concludes that the proposition of “national forms” in China is not equivalent to the proposition of “the national forms” of the Soviet Union, but rather under the special historical conditions of Soviet literary theory Misreading and creative transformation. The profound contradictions inherent in the proposition of the Soviet Union and the “form of nationality” make it difficult to be named in practice. However, the Chinese Marxists advocate the form of the private sector as a national form and give full play to the neglected and underestimated values in the past Marxist literary theory The great political role of folklore and its forms not only represents the reconstruction and surpassing of the Soviet theory, but also expands and innovates the theoretical system of Marxist literature and art in the world.