人生至上亦或是艺术至上——围绕有岛武郎《一个宣言》的论争及影响

Life Supremacy or Artistic Supremacy?——Controversy and Influence about Sengen Hitotsu

受人道主义思想影响的有岛武郎,在其评论《一个宣言》中一方面承认艺术的阶级性,一方面又宣称属于第三阶级的自己无法指导第四阶级文学运动。坚持人生第一主义的菊池宽和坚持艺术至上主义的里见弴就有岛武郎所留艺术和人生的关系问题,进行了"内容的价值论争"。里见弴主张艺术至上主义,而菊池宽则主张对先行研究进行详细考证。该论争提出了日本明治维新以来文坛上一个重要且严肃的话题,即艺术素材的价值问题。浪漫主义作家主张艺术至上主义,很少看重素材的作用,而现实主义作家、无产阶级作家等却主张文艺素材的作用,特别是文艺素材本身所包含的生活价值和道德价值。该论争对我国部分作家产生了较大影响。

Takeo ARISHIMA who is influenced by the humanitarian thought declares in his comments on Sengen Hitostu that the art has class nature, and that he who belongs to third class cannot direct the literary movement of fourth class. Kan KIKUCHI who advocates that the life is the first principle and Ton SATOMI who advocates art supremacy have a ＂the value of content＂ debate regarding the relationship between the art and life raised by Takeo ARISHIMA. Ton SATOMI argues that art is supreme, while Kan KIKUCHI proposes that detailed research is necessary. This controversy raises the value problem of the art materials, which is an important and serious topic in literature field from the Meiji Restoration of Japan. Romantic writers advocate art supremacy and neglect the role of materials, while the realistic and proletarian writers emphasize the effect of literature materials, especially the life value and moral value contained in the materials. The controversy has a certain impact on a part of writers in China.