茅盾的“文艺民族形式论”管窥

On Mao Dun’s “Theory of National Form of Literature”

从20世纪文艺民族化理论的演化进程和"民族形式"论争过程看,茅盾的"文艺民族形式论"的理论创新主要表现为三点:一是茅盾以辩证的文化开放主义立场纠正了"民族形式"论争以来的概念混用;二是茅盾辩证分析民间形式和旧形式的利弊及其价值,倡导文艺的民族内容与民族形式统一论,主张民族形式需要不断改造和创新,纠正了形式主义的偏误;三是茅盾超越当时文论家的某些主流观点,厘清了民族形式和大众化的差异。茅盾的"文艺民族形式论"坚守"开放型的民族文学观",彰显了开放性对话性包容性的文化思维。

From the perspective of the evolution process of literary nationalization theory and the debates on “national form” in the 20 th century,Mao Dun’s theoretical innovation of “national form of literature” is mainly reflected in three aspects.First,Mao Dun corrects the confusion of concepts since the debates on “national form” from the standpoint of dialectical cultural openness.Second,Mao Dun dialectically analyzes the pros and cons and values of folk forms and old forms,advocates the theory of unity of national content and forms of literature,maintaining that the national form needs to be constantly reformed and innovated,and he corrects the mistakes of formalism.Third,Mao Dun surpasses some mainstream views of literary theorists at that time and clarifies the differences between national forms and popularization.Mao Dun’s “national form theory of literature” adheres to the “open view of national literature,” highlighting the open,dialogic and inclusive cultural thinking.