“凡俗即力”的美学精神与“新现实主义”——李健吾《咀华二集》研究  

The aesthetic spirit of “vulgarity is power” and “new realism”——Study of Li Jianwu′s Juhua Erji

作　　者：麻治金 MA Zhi-jin(Yichun University,Yichun 336000 China)

机构地区：[1]宜春学院文学与新闻传播学院,江西宜春336000

出　　处：《新余学院学报》2023年第3期89-94,共6页Journal of Xinyu University

基　　金：2019年度江西省高校人文社会科学研究项目“20世纪40年代京派文学批评研究”(ZGW19210)。

摘　　要：从《咀华二集》版本的修订入手,探讨了李健吾抗战前后文艺理念和批评观念的变化。《咀华二集》版本的增删修订与具体的历史处境、人生境遇以及李健吾自身的艺术追求等方面的因素密切相关,反映出20世纪40年代李健吾文学批评在美学精神和艺术理念方面的转变。主要体现为确立“凡俗即力”的美学精神和倡导“新现实主义”的创作方法和批评武器,追求艺术的现实性与现时性作用。“新现实主义”不是艺术的现实主义,而是现时主义。Focusing on the revision of Juhua Erji(literary criticism),this paper discusses the changes of Li Jianwu's literary and artistic ideas and critical ideas before and after the War of Resistance against Japan.The addition,deletion and revision of the version of Juhua Erji are closely related to the specific historical situation,life situation and Li Jianwu′s own artistic pursuit,which reflects the transformation of Li Jianwu′s literary criticism in the aesthetic spirit and artistic concept in the 1940s.It is mainly embodied in the establishment of the aesthetic spirit of“vulgarity is power”and the advocacy of the creative method and critical weapon of“new realism”,and the pursuit of the realistic and present role of art.“New realism”is not artistic realism,but present-time.

关 键 词：《咀华二集》 李健吾 “凡俗即力” 美学精神 “新现实主义” 

分 类 号：I206.6[文学—中国文学]