“聚和性”与果戈理的创作理念  

“Sobornost Doctrines” and Gogol's Idea of Creative Writing

作　　者：萧净宇[1] 

机构地区：[1]广东外语外贸大学西方语言文化学院,广东广州510006

出　　处：《深圳大学学报（人文社会科学版）》2016年第6期124-128,136,共6页Journal of Shenzhen University：Humanities & Social Sciences

基　　金：国家社科基金重大招标项目"东正教与俄罗斯文学研究"子项目"‘聚和性’与俄罗斯文学经典"(15ZDB092)

摘　　要：作为俄国19世纪上半期最有影响的作家、剧作家和思想家,果戈理站在普希金留下的位置上,继承并发展了普希金的民族性传统,开创了俄罗斯文学的"果戈理时代"。他的创作对其后的陀思妥耶夫斯基和托尔斯泰等世界级文学巨匠产生了深远的影响,而他的代表作《死魂灵》和《钦差大臣》始终被视为俄罗斯文学中的经典之作,在不断为世人所熟悉的同时,成为俄罗斯文学中许多创作的重要源头。长期以来,对果戈里的创作,人们多囿于考究其现实主义倾向、艺术特色、美学思想和宗教人道主义。而其实,"聚和性"作为东正教的核心教义和"根植于信仰之物",更是果戈理创作的精神依托,它是果戈理创作中的"博爱"之根和"含泪之笑"的美学之源,亦是果戈理笔下通向灵魂复活的"天梯"。As the most influential writer, playwright and thinker, Gogol replaced the vacuum left by Pushkin. He followed Pushikin’s national tradition and carried it forward, and thus ushered in a “Gogol era” in Russian literature. His creation has far-reaching influence upon later world-class masters such as Dostoevsky and Tolstoy, and his masterpieces Dead Souls and Imperial Envoy have always been viewed as classics in Russian literature. As they are increasingly well-known, they have become important sources for many creations in Russian literature. For a long time, researches on Gogol’s creation have been confined to its realistic inclination, artistic characteristics, aesthetic ideology and religious humanitarianism. But in fact, “Sobornost Doctrines”, the core tenets and “deep-seeded faith” of Orthodox church, are the spiritual basis for Gogol’s creation. They are the aesthetic sources of“anthropology” and “laughter with tears” in Gogol’s writing, and also the “Jacob’s ladder” to resurrection in Gogol’s novels.

关 键 词：东正教 “聚和性” 果戈里 博爱 含泪之笑 美学 复活 

分 类 号：I3[文学—其他各国文学] O94[理学]