捷克超现实主义运动中符号学与马克思主义的对话  

Dialogue Between Semiotics and Marxism in the Czech Surrealist Movement

作　　者：刘颂扬 Liu Songyang(Sichuan University,Chengdu,610207,China)

机构地区：[1]四川大学,成都610207

出　　处：《语言与文化研究》2024年第3期186-189,共4页Language and Culture Research

摘　　要：在捷克斯洛伐克超现实主义运动的两次高潮中,符号学与马克思主义的交锋与对话发挥重要作用。20世纪20–30年代,受布拉格学派符号功能论影响,以“旋覆花社”为主的左翼先锋诗人结合日常生活诗学、技术唯物主义、弗洛伊德主义提出“诗歌主义”构想,受到恪守“社会主义现实主义”的马克思主义者的批判。20世纪50–60年代,以斯维塔克、埃芬伯格、史云梅耶为代表的战后超现实主义实践者致力于寻求先锋形式与社会批判间的对话,在“捷克新浪潮”电影实验的激活下,推动人道主义马克思主义与符号学的结合。捷克超现实主义运动是考察捷克马克思主义符号学变迁的棱镜,具有别于其法国同道的文化本土性。In the two climaxes of the surrealist movement in Czechoslovakia,the debate and dialogue between semiotics and Marxism played an important role.In the 1920s and 1930s,influenced by the Prague School’s semiotic functionalism,left-wing avant-garde poets group named“Devětsil”proposed the concept of“poetism”in combination with everyday poetics,technological materialism,and Freudism,which was criticized by Marxists who adhered to“socialist realism”.In the 1950s and 1960s,post-war surrealist practitioners represented by Ivan Svitak,Vratislav Effenberger,and Jan Svankmajer were committed to seeking a interaction between avant-garde forms and social criticism,and promoted the combination of humanitarian Marxism and symbolic aesthetics under the activation of the“Czech New Wave”film experiment.The Czech surrealist movement is a prism for examining the changes in Czech Marxist semiotics,with a cultural localization distinct from its French counterparts.

关 键 词：捷克 超现实主义 符号学 马克思主义 布拉格学派 

分 类 号：I20[文学—中国文学]