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米海伊尔·左琴科这个名字对我们读者既熟悉,又陌生,他的作品受到一些人的欢迎和赞赏,同时也受到另一些人的非议和责难。左琴科是位有才华,有特色的苏联作家。如果说他的复杂经历和坎坷道路使他成为一位“传奇式”的人物,那么他的创作则可以认为是苏联文学和文学史上一个空前的、奇特的现象。他敢于独辟蹊径,独树一帜,敢于标新立异,大胆探索。但是随着左琴科在“文海”中的“沉浮”,他的名字在苏联文坛上香过一阵之后就臭起来了,时而被人提起,时而被人遗忘:他的作品(更不必说他的全部创作了)也经历着同样的命运。
The name Mikhail Leftchenko is familiar and unfamiliar to our readers. His work has been welcomed and appreciated by some people and has also been criticized and censured by others. Left piano is a talented, distinctive Soviet writer. If his complicated experience and difficult road made him a “legendary” figure, his writing could be regarded as an unprecedented and strange phenomenon in the history of Soviet literature and literature. He dare to be creative, unique, daring to unconventional, bold exploration. However, as Zuchenko’s “ups and downs” in “Wenhai” stormed his name after spending some time in the Soviet literary world, he was sometimes lifted and sometimes forgotten: his work (let alone his All created) also experiencing the same fate.