米勒的播种——1920年代新文学演进中的形式与主体问题  

Millet’s Seeding: Form and Subject in the 1920s Evolution of New Literature

作　　者：陈云昊 Chen Yunhao(Research Center of New Chinese Literature at Nanjing University,Nanjing 210023,China)

机构地区：[1]南京大学中国新文学研究中心,江苏省南京市210023

出　　处：《文艺理论研究》2020年第1期99-107,共9页Theoretical Studies in Literature and Art

基　　金：国家社科基金重点项目“‘学衡派’年谱长编及文献数据库建设研究”[项目编号:17AZW016]的阶段性成果;南京大学优秀博士研究生创新能力提升计划B资助[项目编号:201901B004]。

摘　　要：19世纪的法国画家米勒之名,最早在《新青年》(1919年)中以"易卜生主义"的面目传入中国。它在1920年代的中国文坛的广泛影响,使得米勒扮演了与新文学演进并行的美育启蒙的关键角色。米勒对中国文坛的播种,契合着新文学自身的演进:从"文艺复兴式"的精神诉求转向文学形式的自觉,而后又从纯文学的建设转向1920年代后期的艺术主体的诞生。在此过程中,米勒与新文学之间形成了历史的互文关系:文学与美术、形式与内容、"十字街头"与"象牙之塔"。于是,美育启蒙的进程与新文学的演进一同构成了1920年代的一条隐秘脉络。Jean-Fran?ois Millet, a French painter in the 19 th century, was first introduced to China via New Youth(1919) as a representative of "Ibsenism". Millet was so influential in Chinese literary circles of the 1920 s that he played a key role in the aesthetic enlightenment in parallel with the evolution of new literature. Millet’s seeding in Chinese literary field witnessed the shifts from the "Renaissance" spiritual pursuit to the self-consciousness of the literary form, and from the construction of pure literature to the birth of artistic subjects in the late 1920 s. During this process, Millet and the new literature formed a historical intertextual relationship between literature and fine arts, form and content, "cross street" and "ivory tower". Thus, the process of aesthetic enlightenment and the evolution of new literature together constituted a hidden thread of the 1920 s.

关 键 词：1920年代 米勒 形式 美育 写实 

分 类 号：I206.6[文学—中国文学]