茅盾建国后的文艺理论和批评

表现伟大的时代性题材与写自己最熟悉的生活相统一,是茅盾文艺观最突出的特色。文艺要为人生是他一直努力的方向。建国后茅盾文艺观受当时社会现实的影响发生了曲折的变化,概括起来即:1949至1955年间丧失主体意识的盲目附和;1956到1959年,他开始用清醒的现实主义态度反省社会和文艺的弊端,但很快又被迫转向"表态"和"批判"状态;60年代中期之前,他关注与支持"中间人物论",主张历史剧应该"古为今用",但强调历史真实与艺术真实的辩证统一;"文革"中,茅盾文艺理论和批评中的现实主义精神又逐渐出现复苏迹象。茅盾文艺观的自相矛盾,在他解放后出版的著作中有极其生动的表现。茅盾虽然强调文艺反映社会重大事件,但重心明显向着强调文学作品的艺术规律和艺术性的方面倾斜。这种主张虽然与当时轻视创作规律的流行理论不协调,但却反映了茅盾顽强的艺术信念。眉批是茅盾当时一种更具有典型意义的文学创作,它是对不能自由创作的时代的无声抗议,也是一种高度的自我扭曲。

Maodun's Theory & Criticism of literature & Art after the Founding of Our People's Republic

Maodun combined the great types of our age with the most experienced life,the most outstanding characteristic of his literary & art view.He thought that literature & art should serve the life.There is a tortuous & changing process on his view of literature & art.Hisview is self-contradictory,which were showed vividly in his works published after liberation.He lost main body consciousness &echoed blindly from 1949-1955;He began to examine the malpractice of the society and literature & art,Before the middle ofothe 60's,He supported & showed solicitude for the "theory of middle figure".He maintained thatwe should make the past serve the present.In the middle of "Wenge",his realistic spirit began to resucitate gradually.This kind of view doesn't seem to be in tune with the popular theory at that time,but reflected that Maodun adhered to literary belief hard.