再论俄国19世纪中期的“纯艺术”论之争

A Reconsideration on the Debate of“Pure Art”in Mid-19th Century in Russia

19世纪50—60年代随着俄国社会改革进程的加快,文学界展开了对艺术功能的论争,继承了别林斯基思想的现实主义派主张发扬果戈理的“暴露”传统,让艺术服务于社会,而唯美派站在“纯艺术”论立场上主张发扬普希金的诗意传统,打造“为艺术的艺术”。这场论争以《现代人》《读书文库》《俄国导报》《时代》等主流杂志为阵地,自50年代中期延续到60年代,发表了大量文章,成为俄国文学史上的重要事件。这场论争一方面促进了俄国文学对社会问题的深入思考,一方面提升了俄国文学的艺术品格,并为后来的文学社会学批评和形式主义理论的成熟奠定了基础。

During the 1850s and 1860s,as Russia underwent significant social reforms,a heated debate emerged within literary circles regarding the purpose of art.The realist school,influenced by V.Belinsky’s ideas,advocated for the continuation of N.Gogol’s tradition of“exposing”as a medium for shedding light on societal issues.Conversely,the Aestheticists championed the cause of“pure art”,drawing inspiration from A.Pushkin’s poetic heritage,and emphasized the creation of art for art’s sake.This controversy unfolded through renowned publications such as Sovremennik,Biblioteka dlya chteniya,Russkiy vestnik,and Vremya,spanning the mid-1850s to the 1860s.It not only produced a wealth of scholarly contributions but also left an enduring mark on the history of Russian literature.On the one hand,the controversy propelled a profound examination of social problems within Russian literary discourse;on the other hand,it elevated the artistic quality of Russian literature,serving as a foundation for subsequent advancements in sociological criticism and formalist theory.