茅盾胡风现实主义文艺思想异同论

A Study on the Difference and Identity of Realistic Thought of Arts and Literature of Mao Dun and Hu Feng

在 2 0世纪中国的现实主义文艺理论发展史上 ,茅盾和胡风代表着不同方向。他们的现实主义文艺思想之间存有对立和冲突 ,但却都重视文学的审美本质 ,是从不同角度对现实主义文艺理论的拓展和丰富。而在特殊的政治氛围之下 ,处于实用与审美不可调和的逻辑张力之间 ,茅盾和胡风在各自的文艺理论中所暴露出来的局限性同样引人深思。比较他们文艺思想的异同 ,对于我们今天更加深刻地认识马克思主义文艺理论具有不可忽视的意义 ,也有助于我们对现实主义在中国现代文学史上的发展做出进一步的思考。

In the history of the development of China's realistic thought of arts and literature, Mao Dun and Hu Feng represented different orientations. There is unity of opposites in their realistic thought of arts and literature, but both of them gave weight to the aesthetic nature of literature, leading to the expansion and enrichment of the realistic thought of arts and literature. However, under the specific political atmosphere where there was an idea that there was no compromise between utilitarian and aesthetic viewpoints, the limitedness disclosed respectively by Mao Dun and Hu Feng in their realistic thought of arts and literature also causes one to think deeply. This carries an ignorable significance to making a deep understanding of the Marxist theory of arts and literature when comparing the difference and identity of their realistic thought of arts and literature. This also helps us put further thinking on the realistic development of China's modern literature history.