五四后无产阶级文艺理论的建设与探索——以陈望道的“平民艺术”论为考察对象

The Construction and Exploration of Proletarian Literary Theory after the May Fourth Movement--Taking Chen Wangdao’s Theory of“The Commoner’s Art”as an Object of Investigation

五四运动时期,陈望道从日本留学回国支持新文化运动。经历了浙江一师学潮后,陈望道前往上海翻译了《共产党宣言》,并且参与了《新青年》编务与上海早期党组织工作。在理论翻译、杂志编辑与组织工作中,陈望道反省五四运动的知识青年主体,主张“出了象牙之塔,走进平民队里”,并且以“平民”为方法,结合同时期中国、日本作家关于文学中风景问题的讨论,明确反对当时隐含风景与主体分裂问题的写生文写作模式。在文学创作理论方面,陈望道主张吸收自然主义的“描写”技巧,将此运用至“平民”的生活之中,以创作出兼具“内面与外在”“主观与客观”统一的“平民艺术”,以此成为日后的社会主义现实主义文艺理论的先声。

During the May Fourth Movement,Chen Wangdao returned from studying in Japan to support the New Culture Movement.After experiencing the student movement at Zhejiang Normal University,he went to Shanghai to translate The Communist Manifesto and participated in the editing of New Youth and the early party organization work in Shanghai.In theoretical translation,magazine editing and organizational work,Chen Wangdao reflected on the main body of the intellectual youth of the May Fourth Movement,advocated“Leaving the ivory tower and entering the ranks of the commoner”,and used“the commoner”as a method,combined with the discussion of landscape issues in literature by Chinese and Japanese writers of the same period,and clearly opposed the sketch writing model that implied the separation of landscape and subject at that time.In terms of literary creation theory,Chen Wangdao advocated absorbing the“description”techniques of naturalism and applying them to the lives of“the commoner”to create“the commoner’s art”that combines“inner and outer”and“subjective and objective”,thus becoming a forerunner of the later socialist realism literary theory.