摘要
1945年重庆《新华日报》对《芳草天涯》的批判是由周恩来发动的,此前《新华日报》的整风运动中夏衍受批,可谓是其前奏。该剧之所以在受到批判之后能继续上演,除了跟周恩来的容忍、重庆左翼文艺界对该剧的批判并未达成共识之外,也跟该剧艺术水平较高,能给演出者带来较高的经济效益有关。另外,《芳草天涯》不过是中共高层以毛泽东《在延安文艺座谈会上的讲话》精神整顿重庆进步文艺界的引子,胡乔木批判的"非政治倾向"的代表主要应该是以胡风为首的七月派,兼及冯雪峰以及乔冠华、陈家康等人。
The critique of Xia Yan＇s Fangcaotianya by Xinhua Daily in 1945 was firstly launched by Zhou Enlai,and the criticism to Xia Yan in the former rectification movement was the prelude.However,the drama could be continually performed on the stage after being criticized because critics did not reach an agreement and Zhou Enlai also had a tolerant attitude.Moreover,the drama was excellent in art and could bring considerable profits which could save the economic crisis of Zhongshu（Chinese Art Drama Club）.In addition,the critique of Fangcaotianya was implicitly directed to the July School and Feng Xuefeng,Qiao Guanhua,Chen Jiakang etc.
出处
《重庆师范大学学报（哲学社会科学版）》
2013年第5期23-29,共7页
Journal of Chongqing Normal University Edition of Social Siences
基金
2009年西南大学中央高校基本科研业务费专项"区域视角下的抗战时期大后方诗歌研究"(项目编号23620090083)的阶段性成果
