性别与审美“盲视”? ——茅盾《作家论》之再思辨

Gender and Aesthetic Blindness?——Reconsideration of MAO Dun,s On Writers

1927至1934年间,茅盾撰写的《作家论》曾因其"史论笔法"和独特的社会-历史批评范式而独树一帜。然而,时过境迁,《作家论》特有的话语表述方式,也遭遇了后世学者的某些质疑。有学者认为,《作家论》呈现的政治倾向与男权意识,造成了对女性性别认知的局限与"盲视";另有学者强调,《作家论》写作的政治功利性目的,导致了对文本艺术性和审美性的遮蔽与压抑。面对质疑,只有回到当时历史与文学的发生场域中,才能厘清问题的脉络与谱系,才能洞见其重要的范式价值与现实意义。

From 1927 to 1934, On Writers written by MAO Dun was once a school of its own for its "historical brushwork"and its unique social-historical criticism paradigm. However, with the passage of time, the unique way of discourse expression in On Writers has also encountered some doubts from later scholars. Some scholars believe that the political tendency and patriarchal consciousness presented in On Writers cause the limitation and"blind vision"of female gender cognition. Other scholars emphasized that the purpose of political utility in the writing of On Writers led to the concealment and suppression of the artistic and aesthetic nature of the text. In the face of the doubt, only by going back to the historical and literary field at that time, can clarify the context and pedigree of the problem, and see its important paradigm value and practical significance.