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季水河在《山东社会科学》2010年第1期撰文认为,毛泽东与胡风共同发展和丰富了马克思主义文艺理论中以反映论为基础的文艺本质观、以典型论为核心的文艺创作观、以大众性为主导的文艺方向论,但他们对待创作主体、创作对象、世界观作用的态度区别明显,其原因有三:首先,救亡与启蒙的不同侧重点。毛泽东文艺理论主要形成于1937至1945年的八年抗战时期,重视农民和以农民为主体的工农兵,轻视作为知识分子的文艺家;胡风文艺理论主要形成于20世纪30、40年代,关注文艺和文艺理论,延续了五四新文化运动以来形成的启蒙思想。其次,接受与继承的不同遗产源。中国传统文化遗产是毛
Ji Shuihe wrote in Shandong Social Sciences, 2010, No. 1 that Mao Zedong and Hu Feng jointly developed and enriched the view of literary and artistic essence based on reflection theory in Marxist literature and art theory, the literary and artistic creation concept taking typical theory as the core, There are three reasons for the different attitudes toward the subject, object of creation and the role of world view. First, the different focuses of salvation and enlightenment. Mao Zedong’s theory of literature and art was mainly formed during the eight-year war of resistance against Japan from 1937 to 1945, focusing on peasants and peasants and peasants as the main body of the workers, peasants and soldiers, despising the intellectuals and artists as intellectuals. The theory of literature and art of Hu Feng was mainly formed in the 1930s and 1940s, Literary and literary theory and continuation of the enlightenment thought formed since the May 4th New Culture Movement. Second, different sources of inheritance and inheritance. China’s traditional cultural heritage is Mao