论文部分内容阅读
粗读刘春杰的书与画,我不禁起错位之感。倘若在五十年代,在“文革”中,甚至八十年代,有位中国青年这般迷恋鲁迅和左翼木刻,大抵是对位的:那些年代,鲁迅是几乎唯一的文化符号,至高无上,等同党文化。即便当年最具怀疑精神的人,十之八九真心热爱鲁迅。现在可以说,这是一份因文化视野严重匮乏,故而被热爱者自我夸张、自我凝固的热爱,当历史被封锁切断,继之大肆篡改后,无可选择地,会出现这种对单一人物的单一热爱。
Liu Chunjie read books and paintings, I can not help but sense of misplaced. If during the ’50s, in the Cultural Revolution, or even in the 1980s, a Chinese youth was so enamored of Lu Xun and the left-wing woodcut that it was probably the right place: in those days, Lu Xun was almost the only cultural symbol of supremacy, Equivalent party culture. Even the most skeptical of the year, nine out of ten really love Lu Xun. Now it can be said that this is a love of self-exaggeration and self-solidification as a result of a serious lack of cultural perspective. When history is blocked off and then tampered with, the indiscriminate election of such a person Single love.