析胡风“精神奴役的创伤”  

An Analysis of Hu Feng's "Scar of the Mental Enslavement"

作　　者：孔育新[1] 

机构地区：[1]北京师范大学文学院,北京100875

出　　处：《汕头大学学报（人文社会科学版）》2011年第6期33-37,91,共5页Journal of Shantou University(Humanities and Social Sciences Edition)

摘　　要：胡风在20世纪40年代提出人民"随时随地都潜伏着或扩展着几千年的精神奴役的创伤"的观点,由此,"精神奴役的创伤"成为胡风文艺思想的一个关键命题。该命题的题材来源于厨川白村的《苦闷的象征》,不过胡风将厨川白村的"创造生活的欲求和强制压力之间的冲突"转换为"人民群众创造历史的解放欲求与封建主义的安命精神之间的冲突",从而转向黑格尔、马克思的历史哲学与文艺美学的维度。而关于文艺在治疗创伤、救赎自我的过程中的作用问题上,胡风将作家譬喻为"施洗约翰",其任务在于通过艺术批判社会痼疾、唤醒群众,为政治的解放实践开道。而人民的血与火的政治实践,就是艺术之解放目的的真正完成,是一首真正的抒情诗。Since Hu Feng put forward in the 1940s the idea that among people 'lurks or spreads any time any place the thousands of years-old scar of the mental enslavement',the 'scar of the mental enslavement' has become one of his key themes of literature and art originating in The Symbol of Depression by Kuriyagawa Hakuson.However,Hu Feng transformed the Japanese writer's 'conflict between the desire to create life and forced pressure' to the 'conflict between the liberating desire of the masses creating history and the feudalist contentment with one's lot',hence a turn to the dimension of Hegel and Marx's historical philosophy and literary and artistic aesthetics.As for the role played by literature and art in the treatment of trauma and self-redemption,Hu compared the writer to the Baptizing John,whose mission it was to criticize social chronic diseases,awaken the masses,and pave the way for the liberation practice of politics by means of art.The masses' political practice of blood and fire represents a complete attainment of the art's purpose of liberation,a real lyric poem.

关 键 词：胡风 精神奴役 创伤 受难 施洗约翰 

分 类 号：I206.6[文学—中国文学]