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作 者:杨念泽 蒋锐[2] YANG Nianze;JIANG Rui
机构地区:[1]山东大学政治学与公共管理学院 [2]山东大学当代社会主义研究所,山东济南250000
出 处:《思想战线》2021年第3期101-112,共12页Thinking
基 金:教育部人文社会科学重点研究基地重大项目“世界社会主义格局变化与中国特色社会主义创新发展研究”阶段性成果(18JJD710004)。
摘 要:抗日战争的全面爆发促进了基于全民族抗日统一战线的第二次国共合作的开展。在中国共产党的领导下,以左翼文艺家为核心的无产阶级文艺工作者与代表国民政府意识形态的“民族主义”文艺家、自由阶级文艺工作者等社会阶层,在共同抗敌、共御外辱的基础之上共同组建了文艺界的抗日民族统一战线。这一过程首先使得左翼文艺家走出了左翼文艺“地下”式、“反政府”式的写作环境,获得了合法的身份与写作、批评、出版的自由;同时,新的时代主题、新的历史处境和新的政治形式,也使得左翼文艺家必须转变其创作方式和创作方法,以获得本时期文艺界统一战线工作中的主动权、话语权和领导权。总体来说,在国民政府的控制之下,本时期左翼文艺家的生存处境呈现出一种“自由”与“不自由”复杂纠缠的境地,而对国民政府官方意识形态的接纳与改造,则成为本时期左翼文艺家创作转型的核心方针。这些也使得抗日战争时期的文艺创作,具有与“五四”和土地革命时期截然不同的风貌。The outbreak of the anti-Japanese war nationwide gave rise to the second KMT and CPC cooperation on the basis of the anti-Japanese united front.Along with this the proletarian writers and artists,with the left-wing writers and artists at their core,formed an anti-Japanese united front with the“nationalist”and“free”writers and artists who were ideological representatives of the na⁃tionalist government.The union allowed the left-wing writers and artists to step out of the situation where they were regarded as“underground”or“anti-government”,and gained the legal status and freedom to write,criticize,and publish.Meanwhile,the new themes of the time,the new situation and the new politics also compelled these writers and artists to change their ways and modes of creation in order to gain initiative,right of speech and leadership in the united front.In general,these writers and artists were struggling between“freedom”and“no freedom”under the control of the nationalist government,and a main approach they adopted to handle this situation is to accept and modify the ma⁃instream ideology of the nationalist government.This gave the literature and art during the anti-Japa⁃nese war a very different outlook from the literature and art in the periods when the May 4th movement and land revolution took place.
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