20世纪30年代中国小说理论之变迁

茅盾在20年代末提出了突出时代性的“新写实主义”。相应地,他对鲁迅小说的评价也发生了变化,由此,他的文学观与后期创造社所提倡的普罗文学观就趋同了。其时,写实倾向大大地压过了表现自我的倾向,第一人称的写法遭到了批评。文学界展开了对于浪漫谛克及庸俗现实主义的批判,现实主义本身也发生了深刻的嬗变。在这股更新了形态的现实主义潮流中,又有着以茅盾为代表的重视艺术表现和以阳翰笙为代表的注目于转换立场与克服旧意识的两种不同倾向。鲁迅则以一种面向新时代的态度,并且以他深刻的经验,指出了当时小说创作的正确途径,解决了作家与所写题材的关系问题。

The Changes of the Theory of China''''s Fiction in the 1930s

In the last years of the 1920s,Mao Dun advanced "Neorealism" ahead of that era,consequently affecting his opinions on the fictions of Lu Xun;his viewpoints on literature hereby converged upon literature of proletariat.At that time,realism was prevailing over self-expression and first-person narration suffered from serious criticism.In the animadversion on Romantic and vulgar realism by literatus,a profound change of realism emerged.With a new round wave of refresh realism,Mao Dun and Yang Hansheng came to different views,respectively emphasizing artistic expression,and highlighting shift-position and overcoming out-of-date ideology.Lu Xun,opening up the prospect of a new era,showed a bright approach into the creation for fictions of that time,which solved the relationship between writers and the themes that they wanted to write.