革命文学的现实主义与崇高美学——由《蚀》三部曲所引发的论战谈起  

Realism and Aesthetics in Revolutionary Literature : Analyzing the Debate Caused by the Eclipse Trilogy

作　　者：李跃力[1] 

机构地区：[1]陕西师范大学文学院

出　　处：《文史哲》2013年第4期57-69,166,共13页Literature,History,and Philosophy

基　　金：2011年度中央高校基本科研业务费专项资金项目特别支持项目"延安文学与图像文学之关系研究"(11SZTZ01)的阶段性成果

摘　　要：1928年茅盾与创造社、太阳社等作家围绕《蚀》三部曲所展开的论争在革命文学发展史上具有里程碑式的意义。这场论战的焦点之一是革命文学与现实的审美关系问题,即革命文学应以何种法则、方式呈现"现实",这种"现实"的质的规定性应该是什么,这实际上是革命文学的核心美学问题。由此浮出水面的"新写实主义"不仅是一种创作方法,更蕴涵着一种根本性的美学原则。它提倡对"现实"作观念式的再现,由此揭示出一种逻辑意义上的"历史必然性"。然而,在这一原则指导下所呈现出的所谓"现实",实际上是对实在"现实"的规避与放逐,其本质是"历史必然性"观念的美学映像,是一种主观的"现实"。除了将客观现实"逻辑化",革命文学在审美关系上还强调主客体之间的矛盾冲突和根本对立,它追求"崇高"的审美理想,强调力量与情感在审美体验中的重大作用。它以冲突、动荡为审美特征,与和谐、静穆的中国古典美学截然不同。它促进并推动了中国美学的现代转型,在某种程度上实现了中国近现代文学对崇高的渴盼与追求;但与此同时,革命美学也难以掩饰其粗糙、偏执、暴戾与排他的反现代性的一面,它所追求的崇高也因强烈的夸张性和排他性而沦为了一种"伪崇高"。In 1928 , the debate between Mao Dun and writers from the Creation Society and the Sun Society regarding his Eclipse trilogy marked a milestone in the history of revolutionary literature.One focus of the debate was the aesthetic relationship between revolutionary literature and reality.That is , what form and medium should revolutionary literature use to reflect ' reality ' and how should reality be defined and quantified ? These are the core aesthetic problems of revolutionary literature.The ' New Realism ' that surfaced was not only a way of literary creation , but it also contained a kind of fundamental aesthetic principle.It advocates the conceptual reconstruction of reality , thus employing logic to reveal the historical necessity of certain events.However , the so-called ' reality ' presented under this principle actually evades and distorts the ' real ' reality : it becomes an aesthetic reappropriation of ' historical necessity ,' a kind of subjective reality.Besides making the objective reality ' logical ', revolutionary literature also emphasized the fundamental opposition between the subjective and the objective.It pursued a sublime aesthetic ideal and emphasized the significance of strength and emotion in the aesthetic experience.Its aesthetic characteristics of conflict and turbulence were completely different from the solemnity , quietness and harmony of classical Chinese aesthetics.It promoted the modern transformation of Chinese aesthetics , and lifted the yearning and idealism of modern Chinese literature to new heights.But at the same time , it is difficult to conceal the coarse , bigoted , violent and exclusive side of anti-modernity , and its pursuit of loftiness devolved into false loftiness because of strong exaggeration and exclusiveness.

关 键 词：革命文学 《蚀》 “现实主义” 革命美学 崇高 

分 类 号：I207.42[文学—中国文学]