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七月派的文学写作以独特的姿态呈现于上世纪30年代后期至40年代的现代文坛。七月派对作家主体性的凸显及注重对人物生命意识的书写体现出的文学自觉性,体现出鲜明的现代主义色彩,赋予了左翼文学审美现代性的特色,拓展和深化了左翼文学的表现空间。其现代性因素是特定社会文化政治的产物,既是胡风对马克思主义理论家卢卡奇文艺思想的创造性继承,又是胡风基于特定时代文化的文艺思考,体现出鲜明的左翼特色。左翼审美现代性体现为生命意识的表现、对生命存在的感受与思考,与主体性的焦虑。这种现代性建构了七月派独特的文化政治批判视角,既继承了新文学启蒙批判的文化立场,又以鲜明的左翼立场建构了七月派审美批判的多重空间。
The July school’s literary writing is uniquely presented in the modern literary world from the late 1930s to the 1940s. The highlight of the subjectivity of the party writers in July and the literary consciousness reflected in the writing of the awareness of the life of the characters reflect the distinctive modernism, giving aesthetic characteristics of the left-wing literature and expanding and deepening the performance space of the left-wing literature . Its modernity is the product of certain social and cultural politics. It is not only the creative successor of Hu Feng to the Lukacs literary thought of Marxist theorist, but also the literary and artistic thinking of Hu Feng based on the culture of a particular era, embodying distinctive features of the left. The aesthetic modernity of the left wing manifests itself as the manifestation of life consciousness, the feeling and thinking of life existence, and the anxiety of subjectivity. This modernity constructs the unique perspective of cultural criticism from July to July. It not only inherits the cultural position of enlightenment and criticism of new literature, but also constructs the multiple space of aesthetic criticism for July with the bright left stand.