老舍在文学场“小阳春”中的习性表现  

Lao She’s Habits Shown in the “Short Spring” of Literary Field

作　　者：徐仲佳[1] 张文香[1] 

机构地区：[1]海南师范大学文学院,教授海口571158

出　　处：《中国文学批评》2017年第2期123-131,共9页Chinese Journal of Literary Criticism

基　　金：海南省哲学社会科学规划课题"中国当代文学场域与老舍的转变研究"(HNSK(YB)15-123)的阶段性成果

摘　　要：1956—1957年间,我国文学场迎来了短暂的"小阳春"。文学场的自主性原则重新受到肯定。老舍在这一段"小阳春"里显示出了他的习性。他一方面积极反思"赶任务"的生产方式,为文学场的自主性原则鼓呼;另一方面他借助政治场域的符号,力图恢复在之前文学场域中的幽默、讽刺资本,创作出了讽刺剧《西望长安》和其代表作《茶馆》。这些都是其习性的直接外化。但是,一体化文学场的规范还是限制着其习性的外化表现。Between 1956 and 1957,the literary field in China experienced a'short spring.'The auton-omy of the literary field was reaffirmed.Lao She also demonstrated his habits and characteristics during this period of short spring.He actively reflected on the'rush' mode of production and called for the autonomy of the literary field.At the same time,he used the symbols of the political field in an effort to restore the humor and irony once found in the previous literary field,and created the satire Looking West to Chang’an and the representative work Tea House.These are the externalization of his habits and characteristics,but he was still limited by the standard of an integrated literary field.

关 键 词：老舍 小阳春 文学场域 自主性原则 习性表现 

分 类 号：I207.3[文学—中国文学]