“合”与“离”——郭沫若文艺思想管窥  

Fit and Deviation--On Guo Mo-ruo’s Literature and Art Thoughts

作　　者：张宁[1] ZHANG Ning(School of Literature and History,Longdong University,Qingyang 745000,Gansu)

机构地区：[1]陇东学院文学与历史文化学院,甘肃庆阳745000

出　　处：《陇东学院学报》2024年第1期23-27,共5页Journal of Longdong University

基　　金：2023年度教育部人文社会科学基金项目(23XJC751006);2023年度四川省教育厅人文社会科学(郭沫若研究中心)一般资助项目(GY2023B01)。

摘　　要：作为现代文坛健将的郭沫若,在1939—1942年民族形式论争前后发表了一系列阐释中国文艺思想的文章。爬梳其在特殊历史语境中的诸多观念,透射出其坚守“五四”文艺的审美性,具有承接“五四”新文学传统的知识分子情结;同时,他倡导借助“民族形式”讨论来吸纳民间形式、外来形式之优长,突破“欧化”与“民族化”的紧张关系,通过革新文艺形式来实现文艺民族化、大众化,此观念与“民间形式”绝对论大相径庭,在纷杂的“民族形式”论争中独树一帜。总之,郭沫若的文艺思想具有客观性与前瞻性,不仅为抗战文艺指明了方向,也为中国现代文学发展提供了广阔视野。As a modern literary figure,Guo Mo-ruo published a series of articles explaining Chinese literary before and after the national form debate from 1939 to 1942.Scrolling through its many concepts in a special historical context,it reflects its aesthetic adherence to the May Fourth literary tradition,and has an intellectual complex that inherits the new literary tradition of the May Fourth movement;At the same time,he advocates using the discussion of“ethnic forms”to absorb the strengths of folk and foreign forms,breaking through the tense relationship between“Europeanization”and“nationalization”,and achieving the nationalization and popularization of literature and art through the reform of literary forms.This concept is very different from the absolute theory of“folk forms”and stands out in the complex debate on“ethnic forms”.In short,Guo Mo-ruo’s literary and artistic ideas have objectivity and foresight,which not only pointed out the direction for anti Japanese literature,but also provided a broad perspective for the development of modern Chinese literature.

关 键 词：郭沫若 文艺思想 管窥 

分 类 号：I206.6[文学—中国文学]