论七月派与审美现代性  

July School and Left-wing Aesthetic Modernity

作　　者：刘东玲[1] 

机构地区：[1]苏师范大学文学院,江苏徐州221116

出　　处：《学术月刊》2014年第12期122-127,121,共7页Academic Monthly

基　　金：广东省“十一五”社科规划项目“左翼文学与现代性”(GD11YZW04)课题论文;江苏省优势学科建设工程项目论文

摘　　要：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。July School＇s literature appeared in late 1930s-1940s modern literature circle, what July School emphasized writers＇ subjectivity and life consciousness embodies literature consciousness, showing obvious characteristics of modernism literature, endows Left-wing literary color of aesthetic modernity, explored and deepened the space of Left-wing＇s writing. The factor of modernism is the outcome of special social and culture politics, that is Hu Feng inherited Marxism theorist Lukas＇s literature thought creatively, and at the same time the outcome of Hu Feng＇s thinking based on concrete culture of times, embodied special feature of Left-wing. Anxiety of subject and life idea showed by Left-wing modernism literature, constructs July School＇s special culture politics stand. Not only inherited new literature＇s critic standing point, but also construct multiple critic space of Left-wing.

关 键 词：七月派 主体性 审美现代性 

分 类 号：I206[文学—中国文学]