摘要
鲁迅的《故乡》与茅盾的《春蚕》同时作为现代乡土小说的扛鼎之作,代表着作家各自的思想立场,是作家对乡土的文学想象,体现了作家对乡土的主观介入。同一文化帷幕下与历史原场中的乡土中国,在鲁迅启蒙主义与茅盾左翼革命的视域下,其"乡景"、"乡民"与"乡里关系"都呈现出截然迥异的形态。两位作家分别将乡土赋予启蒙无效论与革命有理说的文学想象。两者的思想言说恰恰说明了中国现代文学强烈的功利性色彩,文学是为社会变革服务的想象性表达。
As literary works of great social influence,Lu Xun's Hometown and Mao Dun's Spring Silkworms—an embodiment of their respective writer's ideological position—are their literary imagination of the native soil and reflective of their subjective involvement in the native soil. Despite their similarity in the cultural milieu and the rural areas,the 'rural landscape','villagers'and 'the relationship among rural dwellers'in rural China are represented differently in Lu Xun's Hometown and Mao Dun's Spring Silkworms,for the two writers have endowed the native soil with the literary imagination of either the invalidity of enlightenment or the righteousness of revolution respectively. Lu Xun's and Mao Dun's respective view suffice to justify the utilitarian nature of modern Chinese literature—literature is the imaginative expression of its service to social reforms.
出处
《海南师范大学学报（社会科学版）》
2016年第1期14-21,共8页
Journal of Hainan Normal University(Social Sciences)
关键词
《故乡》
《春蚕》
乡土
启蒙
革命
Hometown
Spring Silkworms
native soil
enlightenment
revolution
