崔曙海的美学理念及其艺术悲剧

发布时间：2018-03-01 01:13

本文关键词： 崔曙海美学理念读者艺术悲剧　出处：《东疆学刊》2017年04期 　论文类型：期刊论文

【摘要】：1925年春,崔曙海的《出走记》一经发表便引起了文坛的轰动,但是他此后的诸多作品都没能超越《出走记》的艺术成就。崔曙海的这种艺术悲剧是由于他以狭隘的艺术理念指导自己的创作而造成的。他想尽一切办法去满足工人农民读者的要求,却忽视了文学的提高大众审美能力的职能。他主张文学源自生活,必须反映真实的生活。结果,他只写一些自己的生活经历,没能将那些自身经历与新的时代精神结合起来。他的小说始终遵循"现象——本质"这一模式。他想为劳动人民申辩、揭示不合理的社会现象,但是他过分强调了作品与社会现象之间的因果关系,却忽略了作品本身感性的、偶然的一面。
[Abstract]:In the spring of 1925, Cui Shuhai's "running away" caused a sensation in the literary world when it was published. However, many of his works since then have failed to surpass the artistic achievements of runaway. Cui Shuhai's artistic tragedy is caused by his narrow artistic ideas to guide his creation. He does everything he can to satisfy himself. The demands of the workers, peasants and readers, But he neglected the function of literature to improve the aesthetic ability of the masses. He argued that literature originated from life and had to reflect real life. As a result, he only wrote about his own life experience. He failed to combine those experiences with the new spirit of the times. His novels always follow the "phenomenon-essence" model. He wants to defend the working people and reveal unreasonable social phenomena. But he overemphasized the causality between work and social phenomena, but neglected the perceptual and accidental side of the work itself.
【作者单位】：延边大学汉语言文化学院;
【分类号】：I312.074

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