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冷战期间,美英读者在不同阶段,随着政治文化语境的变化,对中国“十七年文学”审美形式作了别样的审视与言说。20世纪五六十年代,陈世骧、白之、李祁等人率先考察了新中国诗歌、小说的形式特征,重点论析了它们与民族传统文学形式的联系。70年代,美英对中国“十七年文学”审美形式的关注度较上一时期有所提升,蔡梅曦、黄胄、约瑟.威尔金森等的言说具有代表性,他们重点考察了文学修辞、政治意识形态和艺术价值的关系,整体评价较上一时期有所提高。80年代至90年代初,马若芬、赫格、许芥昱、戈茨等人以新的批评理论对“十七年文学”审美形式作了颇具特色的解剖,深化了西方学界对中国“十七年文学”的认识。
During the Cold War, the readers of the United States and the United Kingdom made different examinations and statements on the aesthetic forms of China’s “Seventeen-year Literature” at different stages with changes in the political and cultural contexts. In the 1950s and 1960s, Chen Shifang, Bai Zhi, Li Qi and others took the lead in examining the formal characteristics of new Chinese poetry and fiction, focusing on their connection with the traditional forms of Chinese literature. In the 1970s, the United States and Britain paid more attention to the aesthetic form of China’s “Seventeen-Year Literature” than the previous period. Representatives such as Cai Meixi, Huang Zu, Joseph Wilkinson and others expressed their emphases on the literature Rhetoric, political ideology and artistic value, the overall evaluation has improved from the previous period. From the 1980s to the early 1990s, Ma Ruofen, Hegel, Xu Jieyu and Goetz made distinctive anatomy of the aesthetic form of “Seventeen Years of Literature” with the new theory of criticism, deepening the understanding of the Western academic circles toward China Seven years of literature "understanding.