一桩历史公案:“波夫”先生与艺术问题--兼论陀思妥耶夫斯基艺术批评的“第三条路”  

“Mr.Bov”aand the Art Problems:The“Third Way”of Dostoevsky's Art Criticism

作　　者：季明举[1] 冀会鑫 JI Mingju;JI Huixin

机构地区：[1]曲阜师范大学外国语学院 [2]潍坊科技学院外国语学院

出　　处：《天津外国语大学学报》2025年第2期58-67,111,112,共12页Journal of Tianjin Foreign Studies University

基　　金：国家社科基金项目“白银时代的俄罗斯宗教美学研究”(22BZX127)。

摘　　要：19世纪60年代,陀思妥耶夫斯基与以批评家车尔尼雪夫斯基、杜勃罗留波夫为代表的革命民主主义阵营,以及“纯艺术派”之间围绕艺术与现实的审美关系问题所引发的艺术论战早已成为俄国批评界的一桩历史公案,然而围绕这桩历史公案所衍生的不同思想主张,特别是陀思妥耶夫斯基的根基主义民族文化审美立场,依然存在着诸多需进一步澄清的问题。文章以陀思妥耶夫斯基最著名的批评著作《“波夫”先生与艺术问题》为样本,回溯、梳理和解析这场论战的全过程,以期呈现陀思妥耶夫斯基在审美意识上既不同于革命民主主义,亦迥异于“纯艺术派”的艺术批评“第三条路”主张,并进而还原这桩著名公案的历史全貌与思想图谱。In the 196Os,there was a famous art debate between novelist Dostoevsky,the revolutionary democratic camp represented by critics"Chernyshevski-Dobroliubov"and the school of"pure art"around"the aesthetic relationship between art and reality".This issue has long been known as a historical case of Russia criticism history.However,there are still many issues derived from this dispute,namely the various artistic ideas,especially the Dostoevsky's ethnic cultural aesthetic consciousness,need further elucidation and clarification.This article takes Dostoyevsky's critical work"Mr.Bov"and art problems as an sample to analyze the characteristics of Dostoyevsky's literary critical discourse,trying to prove that Dostoyevsky's aesthetic position is quitely different from the revolutionary democratic criticism and the school of"pure art",and on this basis to restore the original appearance of the well-known art debate in Russian criticism history.

关 键 词：陀思妥耶夫斯基 根基主义 “波夫”先生与艺术问题 “纯艺术派” 艺术论战 

分 类 号：I106[文学—世界文学]