“文化翻身”的可能及限度——1958年“新民歌运动”中“工农创作”现象研究  

The Possibility and Limitation of Culture Emancipation——A Research on the Phenomenon of Worker-Peasant Creating in the New Folk Song Movement in 1958

作　　者：巫洪亮[1,2] 

机构地区：[1]福建师范大学文学院,福建福州350007 [2]龙岩学院人文与教育学院,福建龙岩364000

出　　处：《海南大学学报（人文社会科学版）》2010年第1期80-85,共6页Journal of Hainan University （Humanities & Social Sciences）

基　　金：福建省教育厅A类社会科学资助项目(JA08202S)

摘　　要：在1958年的"新民歌运动"中,"工农"诗人的"文化翻身",既有"真实"的一面,又有"虚幻"的一面;既是一种"解放",又不是真正的"解放";既存在"翻身"的"可能",又是有"限度"的"翻身"。"工农"诗人经历了"无权说"到"有权说",从"无法说"到"学会说",从"不敢说"到"大胆说"的"文化翻身"的过程。而"新民歌"的生产方式、创作主体对"解放"的短视以及意识形态的伦理诉求,则是规限"工农"实现真正"文化翻身"的显性或隐蔽因素。During the new folk song movement in 1958, culture emancipation of worker-peasant poets was both real and unreal, was achieved to a certain degree but not ultimately, and was with both possibility and limita-tion. Worker-peasant poets had gone through the processes of culture emancipation from having no right of speech to having the right, from not knowing how to express their ideas to learning how to say, and from being timid to being brave. However, the following factors, either dominant or recessive, restricted worker-peasant true culture emancipation： productive mode of new folk songs, creative subjects lack of foresight of emancipation, and their ideological ethic appeal.

关 键 词：“新民歌运动” “工农创作” “文化翻身” 可能 限度 

分 类 号：I206.7[文学—中国文学]