“恶作剧精灵”之舞:论早期苏维埃文学的喜剧性

Dance of the “Tricksters”:On the Comedy of the Early Period Soviet Literature

俄罗斯学者尼·赫林诺夫指出,社会历史转折有利于促进喜剧文化的发展。20世纪20年代的俄国正处于一个从苏维埃制度的初步确立到全面建设社会主义的转折时期。从文化角度看,这一时期呈现出从多元到一元、从创作自由到自由受限的变化趋势。文化的喜剧性成为促进新价值体系形成的重要因素之一。受其影响,这一时期的苏联文学一方面继承了俄国的喜剧文化传统,另一方面又呈现出新的过渡性特点。布尔加科夫、左琴科、普拉东诺夫和马雅可夫斯基等“恶作剧精灵”作家们的创作成为这一时期苏维埃文学中喜剧文化的主要代表。

As noted by Russian scholar N. Khrenov, the period of socio-historical transition offers favorable conditions for the development of comic culture. In the 20s of the 20th century, Russia was in the period of the “great turning point”from the preliminary approval of the Soviet regime to the comprehensive construction of socialism. From the point of view of cultural aspects, at this time there is a tendency from pluralism to monism of creative principles, from freedom of creativity to limited freedom. Comedy culture is one of the important factors contributing to the formation of new value systems. In this context, Soviet literature of this period, on the one hand, has inherited the comic tradition of Russian culture,on the other hand, it shows signs of transitivity. The main representatives of the comedy in Soviet literature of this period are such “tricksters” writers as M. Bulgakov, M. Zoshchenko,A. Platonov and V. Mayakovsky.