【作者】 朱朝辉；

【导师】 谭好哲；

【作者基本信息】 山东大学 ， 文艺学， 2008， 博士

【摘要】 胡风是中国现代文学史上的一位重要诗人和独特的文艺理论家和批评家,曾被称为“中国的别林斯基”、“东方的卢卡契”。他早年曾参加“左联”,是“七月派”的核心人物,还是著名的编辑家。胡风文艺思想形成于上世纪30年代,在抗日战争时期逐渐成熟,到建国初期已具备完整的理论体系。胡风文艺思想是中国化马克思主义文论的重要组成部分,也是中国现代文论发展生态中的有机组成部分,其形成、发展和成熟的过程,体现了中国现代革命文学运动的发展进程,同时也反映了中国化马克思主义文论的曲折探索历程,并对建构中国现代文论特别是马克思主义文论作出了不可磨灭的历史贡献。本文选择胡风文艺思想作为研究课题,主要考虑到胡风在中国现代文论史上的特殊地位和重要性,其文艺思想具有独树一帜、别具一格的理论特征,而且提出了“主观战斗精神”、“主客观化合论”、“精神奴役创伤”、“世界进步文学支流”、“艺术与人生一致”等创新性理论观点,并与与同时代理论家发生了激烈的思想交锋和观点碰撞,充分体现出他对知识分子独立人格和精神自由的追求和坚守,在中国现代文论特别是中国化马克思主义文论建构进程中发挥了重要的作用。研究胡风文艺思想在历史中的特殊位置,分析其主要理论特征,探讨其在中国现代文论建构进程中的特殊作用,有助于我们通过反观中国现代文论的历史发展轨迹,总结中国化马克思主义文论建设进程中的经验教训,探索当代文论的建构和发展道路。同时,深入研究胡风文艺思想中的特色理论观点,有助于我们加深对马克思主义文论中相关问题的理解,为后续研究奠定坚实的基础。此外,深入分析胡风坚守的知识分子主体意识和独立精神,探索胡风文艺思想对中国当代文论和中国化马克思主义文论建设的启示,更有助于我们进一步完善和发展当代文论体系,更好地促进当代文艺实践和文艺事业的发展繁荣。本文主要立足当代文论建设的立场,从现代性和话语建构的角度考察胡风文艺思想,试图抛开历史事件的纠葛,借用现代性研究和话语理论中的有关方法,阐释胡风文艺思想的独特性和历史贡献。本文从分析胡风文艺思想在20世纪中国文论话语体系建构进程中的地位入手,把历时性研究与共时性研究结合起来,并兼用比较研究的方法,分析其主要特征,考察这些特征在主要理论观点中的体现,进而把握它在中国现代文论话语体系和中国化马克思主义文论话语建构进程中的特殊作用,进一步探索对当代文艺理论建设的重要意义和价值,最后得出相关结论,为中国当代文论话语建设和当代文艺实践提供参考和借鉴。这是本文的主要研究思路,也是主要创新之处。胡风文艺思想的形成和发展,正处于20世纪中国文论由传统向现代转型的重要时期。作为中国化马克思主义文论话语的一种形式,它在20世纪中国现代文论话语建构进程中发挥了重要作用;同时,由于它与马克思主义文论其他话语形式的关系一直处于紧张状态,使其在中国化马克思主义文论话语建构进程中的位置更加特殊和重要。此外,胡风文艺思想还有复杂多样的理论来源,他不仅直接学习了部分经典马克思主义文论原著,借鉴吸收了苏俄先进的文艺思想,继承和发展了鲁迅的文艺思想,还学习借鉴了西方近现代文艺思想以及卢卡契等“另类”马克思主义理论家的理论观点。因此,与同时代的理论家相比,胡风文艺思想不仅有多样的话语构成资源,在文论话语中处于的特殊位置,也带有别具一格的理论特征。胡风文艺思想主要有三个理论特征:一是注重文艺的社会功能作用。胡风具有强烈的“现实关怀意识”,主张文艺关注社会现实,为改造社会现实服务,并反对部分作家无思想的创作倾向。二是高度重视文艺活动的独立性。在他看来,文艺是客观对象生命内容的表现形式。因此,他不仅视文艺和文艺活动为自己生命的一部分,还坚决捍卫文艺作为特殊精神活动的独立性。尤其在处理文艺与政治的关系时,他强调政治概念不能替代文艺观念,政治功利性不能涵盖文艺的社会作用,政治要求也无法替代文艺的创作规律,并着眼于维护文艺活动的独立性,试图处理文艺与政治之间的矛盾。三是坚持人文知识分子的精神自由。胡风从不依附别人的理论观点,始终独立思考文艺发展中的理论和实践问题,敢于提出自己的不同见解,并自觉继承和发扬“鲁迅精神”,坚决捍卫知识分子的独立人格和人格自由。这些理论特征与其本人的个性人格融为一体,使其文艺思想的特殊性更加鲜明突出。胡风文艺思想的理论特征首先体现在他关于现实主义的理论阐述中。他始终高扬文艺活动的主体性、自由性,着力维护文艺活动的独立性和特殊性,不仅充分肯定了作家主体的地位和作用,还提出了一系列具有独创性的理论观点。比如,在阐述文艺与生活的关系时,他强调文艺应自主地反映生活,既不受反映对象的限制,也不受反映方式的制约。在他看来,文艺不仅要反映生活,还要提高生活,不仅要反映生活的真实,更要追求生活中深刻的历史内容。在阐述文艺创作过程时。他强调创作是作家主观与生活客观的化合过程,认为作家主观与客观生活同样重要,两者呈现出相生相克、双向互动的状态,并贯穿于创作的整个过程。其中,作家主观不仅能够运用形象思维把握客观生活,同时也受到了客观生活的制约和克服,因而也能够在创作中得到完善提高。基于此种认识,胡风创造性地提出了“主观战斗精神”概念。他指出“主观战斗精神”不仅是作家创作的动力之源,也是作家的必备素质,还是作家人格的重要体现。因此,作家只有充分发扬“主观战斗精神”,才能够实现主观与客观的有机化合,创作出反映生活真实的文艺作品。在阐述文艺批评时,他强调批评家应当开展民主、自由的文艺批评。要实现这一目标要求,不仅需要坚持批评的原则性和严肃性,坚持社会学评价与美学评价相统一的批评标准,还需要不断提高批评家的素质能力,积极营造民主、自由的批评环境。这样才能充分发挥批评的战斗作用,把握反映时代精神和社会要求的文艺潮流,从根本上解决文艺的原则性和方向性问题,引导作家坚持走现实主义道路。胡风还结合自己的实践经验,对文艺期刊编辑工作提出了独到的见解。他认为编辑不能任意删改作家的作品,应充分尊重作家的自由创作,强调尽量保持作品原有的特点风格,积极发挥引导作用,督促作家不断创作出有思想力和艺术力的作品。同时,他倡导文艺期刊重视文艺领域内“生人的气息”,积极发现和培养新作家、新作品,并自觉抵御庸俗风气的不良影响。胡风文艺思想的理论特征在其艺术观中也得到了充分体现。胡风的艺术观将现实改造与人的解放作为主旨,在文艺与人生等问题上,提出了与其他理论家截然不同的观点。他强调文艺要把捉人生的真实,不仅要把追求历史内容与追求人生内容紧密结合起来,努力做到“服务人生”,还要以“改造人生”来推动“社会改造”,最终在“意识斗争”与“社会斗争”的相互作用下,完成“改造社会”与“人的解放”双重任务。在其艺术观中,他发展了鲁迅对“国民劣根性”的批判,提出了“精神奴役创伤”的概念,强调文艺应着力消除民众身上的“精神奴役创伤”:不仅要对“精神奴役创伤”保持清醒认识和高度警惕,还要积极与之战斗,坚持不懈地对大众进行思想启蒙。而要完成上述任务,文艺家必须坚持艺术与人生相一致。即文艺家不仅要有积极的人生态度、对生活的浓厚情感和激情,还要深入生活,善于向生活学习,坚持走与人民相结合的道路,真正做到忠实于艺术。他特别强调,文艺家忠实于艺术、忠实于现实,可以弥补自己生活经验和世界观上的不足,只有对艺术忠实,才能在艺术上迫近人生。作为马克思主义文论话语的一种特殊形式,胡风文艺思想在形成和发展中,与以周扬等理论家为代表的其他话语形式展开了激烈交锋,形成了中国现代文学史上的几次重要论争。在典型问题之争中,双方围绕塑造典型的意义、典型的普遍性与特殊性、塑造典型的方法等问题展开论争;在“民族形式”及“文艺大众化”之争中,双方围绕“民族形式”的来源、如何发展“民族形式”、“民族形式”与“民间形式”的关系,以及“文艺大众化”的途径等问题展开论争;在文艺中“主观问题之争”中,双方围绕创作的决定性因素、思想认识与主观体验的作用等问题展开了辩论。这些论争促进了理论界对上述问题的深入思考和研究,同时也在客观上维护了马克思主义文论话语形式的多样化格局,对其逐步走向“教条化”、“制度化”的趋向,起到了一定纠偏和延阻作用。另外,胡风还在其著名的“三十万言书”中,就“党对文艺事业的管理原则”问题提出了自己的看法,强烈呼吁遵循文艺的发展规律,尊重作家的创作自由,积极营造有利于文艺发展的环境氛围,体现出了强烈的责任意识、危机意识和超前意识。纵观中国现代文论史,胡风文艺思想虽处于特殊位置,却具有强大的生命力,并与主流话语形式一起,为现代文论话语体系建构作出了突出贡献。它以强烈的文化批判意识、宽广的理论视野和对思想启蒙的执着,促进了中国文论话语体系由传统向现代转型;同时,以其对文艺活动特殊性、独立性的坚守,对人的精神和人的解放等问题的关注、对文艺活动中主体作用的重视,以及对作家创作自由的捍卫,弥补了中国化马克思主义文论话语建构中的部分缺憾。此外,它对文艺问题的独立思考、对理论和艺术的独特追求,以及坚持艺术与人生一致、从不回避思想交锋的态度,也为中国现代文论话语建构注入了强大的生机与活力。胡风文艺思想启示我们:当代中国文论话语体系建构,必须注重价值的多样性和系统的开放性,这样才能避免教条僵化,保持旺盛的理论创造力;而广大文艺理论工作者应坚持自己的理论和艺术追求,不断增强主体意识,坚守自由精神,通过艰辛的努力和扎实的工作,为当代文论话语体系建构作出自己应有的贡献。更多还原

【Abstract】 Hu Feng was not only a famous poet and distinctive literary theorist ,but also a art crititist in modern history of Chinese literature. He was once called "Chinese Belinskiy" and "oriental Lukacs". He once joined "League of Leftist Writers", was also the key writer in the schools of literature ,which called "July". Comparing with other writers , he had edited several literature publication such as "July" , "hoped". Before liberation, these publication had produced very big effect among writers who lived in the area of Guo Min Dang ruled . Hu Feng literary theory takes form in upper century thirties. During the period of Anti-Japanese war, it gradually mature. In the early period after the founding of New China, it had already comparatively entire theory system. Hu Feng’s literary theory was the important component that modern Chinese Marxism literary theory commented on. It was also that modern Chinese literary theory develops organic ingredient in organism’s habits. The theory’s process of taking form , development and maturing had reported the development course that modern Chinese revolution literature moves . It had also reflected modern Chinese Marxism theory of literature and art which had probed with circuitous course and developed difficultly. The process had made especially to modern Chinese literary theory an ever indelible contribution too. Hu Feng’s literary theory based on his literature and art practice and independent mind conscientiously, applied Marxist basal principle , corrected the thorough thinking having been in progress in connection with literature and art problem. He had suggested several notion such as "the subjective battle spirit ", "objective chemical combination of subjective comment on" , "spirit of slavery trauma ","branch of progressive world literature", etc .These notion had started in a new train of thought studying the literature and art problem. Hu feng’s literary thoery also had provided the important reference and drawn resource to us ,how to study relevant problem in the developing process of Marxism literary theory today . During the developing process of the theory, Hu feng had a few of fierce collision with coeval literary theorist which happened in the theory viewpoint. These collision had deepened the research to problem of Marxism literary theory in literary theory circles. His distinctive theory character of person and personality spirit had appeared at the same time also, which was especially reflected as the spirit of practice, the democratic and free spirit, defending tenacious truth spirit and "showing solicitude for the life " feelings and so on. These spirit had especially shown his personality being independent to the intellectual and spirit liberty which he had defended through his life. Therefore, if we want to look back at the course of morden Chinese Marxism literary theory’s development, and probe the construction road that Marxism literary theory comments on today , we must study Hu Feng’s theory which was the key of the couers. Olny based on thorough analysis to his theory’s perticularity, we could probe significance and value commenting on construction to today’s Chinese Marxism literary theory, guide today’s literature and art theoretical work and literature and art practice developing much better than before.This text is constructed mainly from the angle of modernization and utterance. It trys to put modernity studying and utterance studies’s relevance method in progress studying , in order to reveal the "heavy history fog" which misleads people. So it can expound Hu Feng’s literary theory from a new angle. This text is based on the contemporary literary theories’ constuction of position, trys to put historic research and current study together, and use comparison research of method. The study starts from analysising the position of Hu feng’s theory within Chinese literary theory construction progress commences in 20 centuries, focus on the characteristics of his literatary theory, investigates these characteristics’ reflection in his main theory and notion. then wants to hold his theory’s function in the constuction progress of morden Chinese literary theory and the Marxist litarary theory. It also investigates his theory’s important meaning and value to the construction of today’s literary theory. At last, the text gets related conclusion, in order to provide some loan to morden Chinese literary theory and literature practice’s healthy development. This is the mainly train of thought, is also the mainly creative place.Hu Feng’s literary theory was formated and developed in the important period, which Chinese literary theory discourses were in terms of transforming to being modernized during 20 century. As a form of modern Marxism literary theory discourse, Hu feng’s theory had brought the important effect in the course of morden Chinese literary thoery discourse s’construction in 20 century. Because Hu feng’s theory stermed from complicated theory source, and made the relation with other form discourse always in strained state, It staied in very peculiar and important location in the construction progress of morden Chinese literary theory discourse and Marxism literary discouese. Hu Feng’s literary theory has main three theory sources : which is Soviet and Russian’s literary theory, west life philosophy and modern literary theory comment on, Lu Xun"s literary theory effect. In addition, he also received Belinskiy and Lukacs’ literary theory which was once called "alternative" Marxist Literary Theory. Comparing with other literary theorist, Hu Feng’s literary theory either from the source of a theory or the system of discourse to the locations, and others with different characteristics. Hu Feng’s literary theory principal character concentrates on three aspect: First, with a strong sense of the reality of caring; Hu Feng attaches great importance to the social function of literature and art, literature and art must be concerned that social reality, the reality for the transformation of society, and oppose some writers without thinking of the creative tendencies. Second, attach great importance to the independence of artistic practice. In his view, art is an objective content of the performance targets of life, therefore, he will visual arts and literature practice as a part of life, resolutely safeguard the Arts as a special spirit of the independence activities. Especially in dealing with the relationship between art and politics, he stressed that his political concept can not substitute for artistic concepts, not covered political utility of the social role of literature and art, political demands irreplaceable works of literary. He focused on preserving the independence of literary to deal with artistic development and political contradictions between the need to struggle. Third, He attached particular importance to artists as freedom of the spirit of the humanities intellectuals. He uphold Lu Xun Literary theory of the independent character, and insisted on literary theory and practice independent thinking, upholding the integrity and independence of intellectuals free personality. These personality characteristics and his personality spirit of integration, Hu Feng’s literary theory is more distinctive personality, theoretical character is is more outstanding too.The characteristics of Hu Feng’s literary theory is reflected firstly in his realistic theory.Hu Feng’s realitistic theory always hold high the principal of literature’s Subjectivity and freedom. He tried to maintain the independence of literary. This was fully reflected in five aspects : First, the relationship between art and life. In his view, the literature should reflect life independently .It was unrestricted from the target and reflecting the manner. Literature should not only reflect life, but also improve the living so that truly reflects life. Second, in the literary and artistic creation, the subjective is the decisive factor. He believes that the subjective and objective in the creation equally important. literary creation is a process of subjective and objective mutual fighting, Compounded each other. In the process, subjective need to use image thinking to grasp the objective targets and also need to continuously achieve self-improvement. Third, in literary creation, writers need to carry forward the "subjective fighting spirit". He stressed that "subjective fighting spirit" is not only the source of creative power, but also the qualities which writers required. It is also an important manifestation of Personality spiritual strength. Fourth, Literary Criticism should be carried out democraticly and freely. He stressed that literary criticism should not only uphold the aesthetic and sociological assessment evaluation unity, it is also necessary to play literary criticism and cultural Critical Function. In his view, the literary criticism has the nature of ideological movements, which not only needs excellent writer with the main attributes, but also needs a democratic and free environment. Fifth, the Editing should respect for the spirit of the freedom of writer’s creation attribute. It should not only respect the writer’s creation, but also play an active role in guiding. It should be good at discovering and developing new writers, and to be ware of "philistine" and other vulgar habits’ influence.The characteristics of Hu Feng’s literary theory was a very good performance in his artistic concept. He looked the reality of transformation and liberation as a keynote. So, his views and understanding is different with others. First, he stressed that literature need to explore the real life. Literature should not only take the pursuit of historical content and life closely integrated, but also uphold the "For Life" pursuit. He believed that Literature should transform the society, through the transformation of life. His ultimate aim was to establish a new society. Secondly, he stressed that literature should be concentrated on the Elimination of people the "spirit of slavery trauma". literature should not only address the "spirit of slavery trauma", but also strive to eliminate it. Thirdly, he stressed that artists must adhere to the same art and life. Therefore, artists should not only have a positive attitude to life, strong emotion and passion, but also go deep into life, and be good at learning to life. They should be Combined with the masses and be faithful to the arts. He also pointed out that faithful to the art, faithful to reality, artists could make up for their life experience and world view of the inadequate. Only the faithful of the art, artists could be approached from the art to life.As a form of Marxist Literary Theory discourse, During his literary theory was formating and developing, In the theoretical point of view, he made several fierce conflicts with Zhou Yang and other theorists. It is in this controversy on several occasions that Hu Feng’s literary theory promoted the construction of whole system of discourse. Such as, Typical problems in the controversy, the two sides debated over the significance of a typical, typical’s universality and particularity, and the creation way of typical issues. When discussed "national form" and "Popular Arts"issues, the two sides debated around the sources of "national form", the development of "national form", "national form"and Civilians, "Popular Literature" and other issues. When discussed "The main role in the creation"issue, the two sides debated around "Creation of the decision factors", "Thought and the role of the subjective experience"issues. These arguments on some issues promoted the in-depth thought and research, At the same time objectively safeguard the Marxist Literary Theory discourse system "diversifying", Prevent and correct its "unified" and "institutionalized" tendency.Practice has proved that Hu Feng’s literary theory was in a very special place in the Construction process of modern Chinses literary theory discourse System, but had a very significant impact on the Chinese literary theory as same as the discourse form which Located in the mainstream. This shows that Hu Feng’s literary theory itself had great vitality and vigor. Hu Feng’s literary theory Played a significant role in the process of modern Chinese literary theory construction . This revealed to us: On the Construction of the contemporary Chinese literary theory’s discourse, we must look Marxist Literary Theory as the starting point of this theory, Focus on the value of diversity and the openness of the system, and Aim at solving practical problems. Only in this way, can we avoid the rigid dogma, and Maintain strong theoretical creativity. Another,every Literary theorist should Adhere to his own theory and the pursuit of artistic. Only through hard work and solid research, can they make due contributions to build the discourse system of Chinese Contemporary Literary Theory.更多还原