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中南大学学报(社会科学版)
ZHONGNAN DAXUE XUEBAO(SHEHUI KEXUE BAN)

2015年12月第21卷第6期
   
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文章编号:1672-3104(2015)06-0187-07
 
“自我的表现”文艺观:传承与改造——从创造社到决澜社
 
胡荣
 
(上海外国语大学文学研究院,上海,200083)
 
摘  要: 表现主义的核心理念“自我的表现”曾在20世纪二三十年代的中国文艺界激起热烈反响。郭沫若、成仿吾等创造社前期干将对此文艺观做了大张旗鼓的提倡和颂扬,而在精神气质上与之构成某种“承接”关系的先锋美术团体决澜社,也结合自身语境和创作实践,进一步阐释并改造了“自我的表现”艺术观,从而探索了表现主义文艺在现代中国的发展维度。
 
关键词: 自我的表现;创造社;决澜社
 
 
Inheritance and reform of the artistry of expression of the self: from the creation society to the storm society
 
HU Rong
 
(Institute of Literary Study, Shanghai International Studies University, Shanghai 200083, China)
 
Abstract: The core concept of Expressionism, Expression of the Self, once received a heated echo in the literary circle in the 1920s~30s in China. Following Lu Xun, the leading role of Literature Revolution who had a obvious preference to this German art style, such key members and founders of the Creation Society as Guo Moruo and Cheng Fangwu advocated Expressionism in a more open and pageant way. When they turned to leftist realism in the 1930s, another avant-garde society named the Storm Society, inherited the spirit of the Creation Society, further interpreted and reformed the artistry of Expression of the Self by combining the context and their own practical production, and contributed an exploration into the developing dimension of Expressionism in modern China.
 
Key words: Expression of the Self; the Creation Society; the Storm Society
 
 
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