俄国“纯艺术”派研究

发布时间：2018-04-28 02:19

本文选题：俄国 + 纯艺术　；参考：《上海外国语大学》2013年博士论文

【摘要】：唯美主义，是十九世纪中期开始以法国为中心而波及欧洲的一种文艺思潮。唯美主义认为艺术应当追求单纯的美感，认为“美”才是艺术的本质，主张“为艺术而艺术”。作为文学史上与西欧唯美主义遥相呼应的俄国“纯艺术”派是十九世纪中期俄罗斯诗坛出现的标榜“纯艺术”的诗歌流派，其主要代表是费特、迈科夫、А·К·托尔斯泰、波隆斯基等，德鲁日宁、鲍特金、П.В.安年科夫则是这一派的理论家。俄国“纯艺术”派与同一时期的西欧唯美主义基本上没有直接的联系，在审美特性、艺术趣味、文艺思想上都具备自己的特点。“纯艺术”派在革命民主主义批评占主导的十九世纪中后叶，一直活动在比较小的范围里，并未形成一个强势的文学现象，并且长期受到不公正对待和评价。但是“纯艺术”派的理论和创作活动却以一股纯净的文学力量参与了十九世纪俄罗斯文学进程，并在多维空间上对俄国文学发展产生了深刻的影响，拉开了俄国文艺现代主义的序幕。受民主主义批评家的影响，俄罗斯“纯艺术”派一直得不到正确的评价，之后的苏联学术界也对其进行打压。种种带有阶级论色彩的论断长期将“纯艺术”派排斥于文学主流之外。不客观的理解以及扭曲抹黑的评价从未消退过。直到二十世纪七十年代，关于“纯艺术派”的研究才趋于公正客观。我国俄苏文学研究界“有选择地”译介妨碍了学界对于十九世纪俄国文艺理论的全面认识，加之对于别林斯基、车尔尼雪夫斯基和杜波罗留波夫等革命民主主义文艺理论全盘吸收，而作为革命民主主义者对立面的“纯艺术”自然被排除在边缘地带。因此在取得丰硕成果的同时也存在着不同程度的偏颇。或者根本未将“纯艺术”派列为俄国文学史中独立存在和发展的流派，或是泛泛提及，但并未将其与其他流派同等对待研究。对“纯艺术”派的解释和评价，不是太宽泛以至于无法客观考察诸多细节，就是太狭隘因而无法有充足的理论依据去研究和说明它持续大规模的存在的原因。如此，这便构成了对俄国“纯艺术”派认识的巨大障碍。有鉴于此，本文在广泛借鉴学习俄罗斯、中国及其他学者关于俄国“纯艺术”的既得成果的基础上，坚持文学作品整体性研究原则，，紧密结合历史文化批评学、比较类型学、系统学以及文本细读方法方法，通过历时性和共时性的对比研究方法，将俄国“纯艺术”派置于西方和俄国现代主义大背景下予以全方位研究，考证在传承与创新中发展的俄国“纯艺术”既具有现代主义早期形态，又具有浓烈的本土特色。其次，分析作为一个极端复杂的艺术融合物，对西方文艺思潮的借鉴，对本国传统的汲取在多维空间上对俄国文学发展的深刻影响，从而深度考察俄国“纯艺术”的价值，将俄国“纯艺术”派研究向前推进一小步。本文正文除绪论和结语外，共分为五章。各部分内容简述如下：绪论部分辨析“纯艺术”的概念。对比俄国“纯艺术”与西欧唯美主义，颓废主义等概念。回顾“纯艺术”研究的历史和国内外现状。明确本论文的研究对象，最后确立论文的目标、任务以及研究方法，提出本论文的学术新意和实际意义。第一章从十九纪四十年代俄国社会环境、政治、历史、时代背景方面考察该流派产生的历史文化语境，也从世界范围内文化语境改变和俄国特殊的现代化进程角度，明确该流派的产生并非孕自西欧文化体系的母体。第二章研究俄国“纯艺术”派的产生。首先，给出世界文学史定论的西欧唯美主义的哲学基础和理论源起，即康德美学“审美不涉利害”、“审美不涉概念”、“审美只涉形式”美学原则，以及法国“纯艺术”论和“为艺术而艺术”理论的演进。再探讨俄国“纯艺术”论的本国理论和创作渊源。第三章用比较的方法理解俄国“纯艺术”的核心问题。首先展示俄国“纯艺术”派理论的确立，即1850年与批判现实主义论战。其次归纳出俄国“纯艺术”的美学基础，主要纲领原则和美学主张，并与西欧唯美主义做对比研究。俄国“纯艺术”论由于产生的社会政治背景的特殊性，因而带有自由主义在文学艺术中的折光。至于创作方面，就必须要探讨其诗学原则，而这必须与浪漫主义结合研究。“纯艺术”派的艺术价值也来源于自身的内在张力，即作为带有肯定与否定双重性质的理论。第四章俄国“纯艺术”派代表诗人创作研究。本章是全文的核心章节，集中细致地分析、研究费特、迈科夫、波隆斯基、阿·康·托尔斯泰这四位诗人的创作。既研究他们之间共同之处，更侧重于他们的区别。第五章从实证和逻辑两方面，对俄国“纯艺术”派的影响与价值做研究。“纯艺术”派开始进行理论和创作活动的十九世纪中叶拉开了俄国文艺现代主义的序幕，对世纪之交的俄国白银时代现代主义流派影响颇深。首先要研究俄国象征主义和“纯艺术”论的理论契合。理论家В.С.索洛维约夫（В.С.Соловьёв）的美学观点影响了一大批象征派诗人，其著作和文献较多阐述了对俄国“纯艺术”派的态度，这是实证关系。再者就要从以纯诗作为价值追求的俄国老年象征派，又曰“纯艺术”流派出发，细致分析勃留索夫和巴尔蒙特这两位诗人。在结语中，首先涉及到一个概念“欠发达”的现代性。作为俄国现代主义创作观念早期形态之一的俄国的“纯艺术”体现了一种“欠发达”的审美现代性。最后给出俄国“纯艺术”派的艺术价值。
[Abstract]:Aestheticism, a literary trend of literature and art that began to spread to Europe in the middle of the nineteenth Century. Aestheticism believed that art should pursue pure aesthetic feeling, that "beauty" is the essence of art and advocates "art for art". As a literary history, the Russian "pure art" that echoes the aestheticism of Western Europe is ten. The poetic genre of "pure art" appeared in the Russian poetry circle in the middle of the ninth Century, and its main representatives were fart, MEIKO, Tolstoy, and bologssky, and Drew Genin, Potkin, and annesco, the theorist of this school. The Russian "pure art" school was basically not directly related to the Western European aestheticism at the same time. It has its own characteristics in aesthetic characteristics, artistic tastes and literary and artistic ideas. "Pure art" has been in a relatively small scope in the late nineteenth Century, which is dominated by Revolutionary Democratic Criticism, and has not formed a strong literary phenomenon, and has been unfairly treated and evaluated for a long time. But "pure art". The theory and creative activities of school participated in the Russian literature process in nineteenth Century with a pure literary force, and had a profound influence on the development of Russian literature in the multidimensional space and opened the prelude to the Russian literary modernism.
Influenced by the Democratic critics, the Russian "pure art" school has not been correctly evaluated, and the Soviet academia also pressed it. All kinds of class theory have long rejected the "pure art" school outside the mainstream of literature. The impersonal understanding and the distorted and discredited evaluation have never subsided until two. In 970s, the research on the "pure art school" became just and objective. The "selective" translation of the Russian Soviet literature research community hindered the comprehensive understanding of the Russian literature and art theory in nineteenth Century, and the revolutionary democratic literature and art theories such as pelunsky, carrunsky and Du Polo Yubov. The "pure art", which is the opposite of the revolutionary Democrat, is naturally excluded in the border area. Therefore, there are different degrees of bias at the same time, or the "pure art" has not been classified as a school of independent existence and development in the history of Russian literature. His interpretation and evaluation of the "pure art" faction is not too broad to objectively examine many details. It is too narrow and therefore unable to have sufficient theoretical basis to study and explain the reasons for its continuous large-scale existence. This constitutes a huge obstacle to the understanding of the Russian "pure art" faction.
In view of this, on the basis of learning the achievements of Russian, China and other scholars on Russian "pure art", this article adhered to the principles of the study of the integrity of literary works, closely combined with historical and cultural criticism, comparative typology, systematics and method of text reading, through a comparative study of diachronic and synchronic. The Russian "pure art" school is studied in a full range under the background of Western and Russian modernism. The Russian "pure art" developed in inheritance and innovation has both the early form of modernism and strong local characteristics. Secondly, the analysis is an extremely complex artistic fusion, and the western literature and art thought. The reference of the tide has a profound influence on the development of Russian literature in the multi-dimensional space of the national tradition, thus deeply investigating the value of "pure art" in Russia, and advancing a small step in the study of "pure art" in Russia.
In addition to the introduction and conclusion, the text is divided into five chapters.
The exordium distinguishes the concept of "pure art", compares the concepts of Russian "pure art" with Western European aestheticism and decadence, reviews the history of the study of "pure art" and the status quo at home and abroad, and defines the object of this thesis, and finally establishes the objectives, tasks and research methods of the paper, and puts forward the new and practical significance of this paper.
The first chapter examines the historical and cultural context of the genre from the Russian social environment, politics, history and background of the nineteen period of the 40s, and from the change of cultural context in the world and the special modernization process in Russia, it is clear that the generation of the genre is not the mother of the cultural system of Western Europe.
The second chapter studies the emergence of the Russian "pure art" school. First, it gives the philosophical basis and origin of Western European aestheticism, which is defined by the history of world literature, that is, "aesthetic no interest", "aesthetic no concept", "aesthetic only form" aesthetic principle, and French "pure art" and "art for art". On the evolution of the theory of "pure art" in Russia.
The third chapter uses a comparative method to understand the core problems of Russian "pure art". First, it shows the establishment of the Russian "pure art" theory, that is, the debate on the critical realism in 1850. Secondly, the aesthetic basis of Russian "pure art", the main principles and aesthetic ideas, and the comparative study of aestheticism in Western Europe. Russia "pure art" is "pure". As a result of the particularity of the social and political background produced by art, there is a refraction of liberalism in literature and art. As for creation, it is necessary to explore its poetic principles, which must be studied in combination with romanticism. The artistic value of "pure art" school is derived from its inner tension, that is to say, with affirmation or not. The theory of a double nature.
The fourth chapter of the Russian "pure art" represents the poet's creative study. This chapter is the core chapter of the full text. It concentrates on the analysis of the four poets of fart, Maikov, bologssky, and A Con Tolstoy. It not only studies the common points between them, but also focuses on the differences between them.
The fifth chapter studies the influence and value of Russian "pure art" from two aspects of positivism and logic. "Pure art" began to carry out the theory and creative activities in the middle of the nineteenth Century, which opened the prelude of Russian literary modernism, which has a profound influence on the modernist school of Russian Silver age at the turn of the century. The aesthetic view of the aestheticism and the theory of "pure art" has influenced a large number of symbolist poets, whose writings and documents elaborate more on the attitude of the Russian "pure art", which is an empirical relationship. Then, the Russian old elephant is the value pursuit of the YISHION poetry as a Russian old elephant. Starting with the genre of "pure art", the two schools of poets and Balmont are analyzed in detail.
In the conclusion, first of all, it involves the modernity of a concept "less developed". As one of the early forms of Russian modernism, "pure art" embodies a kind of "less developed" aesthetic modernity. Finally, it gives the artistic value of "pure art" in Russia.

【学位授予单位】：上海外国语大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I512.099

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