【作者】 余嘉；

【导师】 陈建华；

【作者基本信息】 华东师范大学 ， 比较文学与世界文学， 2006， 博士

【摘要】 俄苏“红色经典”在此是指一批在特定时代出现的,具有革命色彩的俄苏文学名著。这些作品从20世纪20年代末起被译介到中国,对左翼文化和文学运动产生了广泛的影响,并在50、60年代“文学为政治服务”的意识形态背景中被经典化。新时期以来,随着社会和文坛格局的变化,它们的“经典”意义遭到置疑,某些作品的文学价值也被否定。本文以有关俄苏“红色经典”的批评文章及专著为研究对象,考察《母亲》等四部最具代表性的俄苏“红色经典”作品70年来在中国的批评状况,揭示俄苏“红色经典”从经典化到解经典化的流变过程,并从一个特殊的侧面观照20世纪中俄文学关系的基本脉络和20世纪中国文学批评的整体倾向。 本文第一章论述俄苏“红色经典”批评之滥觞,具体时间为20世纪20年代至40年代。这一时期批评界主要研究的是《母亲》、《静静的顿河》和《被开垦的处女地》三部作品。《母亲》批评成果较为丰厚,其他两部作品的批评情况则相对简单。这些作品在这个时期作为俄苏文学中的重要作品出现在批评家的视野中,批评家大多从文学批评自身规律出发对其进行研究和阐释,虽有强调斗争性、革命性的批评倾向,但主调是多声部的。 第二章论述俄苏“红色经典”批评之异变,包括建国十七年和“文化大革命”两个阶段。在十七年中,除《母亲》、《静静的顿河》、《被开垦的处女地》之外,《钢铁是怎样炼成的》在这个时期进入批评视野。此时期最为批评界关注的作品是《被开垦的处女地》,形成该作品整个批评史中的高潮期。在“文学为政治服务”口号的指引下,受意识形态高度政治化的影响,这批作品逐渐被提纯,俄苏“红色经典”最终形成。大部分批评文章都自觉以阶级斗争为纲,无论是人物形象分析还是主题思想研究都烙上了明显的阶级痕迹,尤其是对这批作品在阶级斗争中的现实意义的高扬,致使研究成果重复,观点雷同,声调单一。“文革”时期,中苏文学关系进入冰封期,肖洛霍夫成了“苏修文艺”的总头目,《钢铁是怎样炼成的》从批评视野中消失,《母亲》成为阴谋论者的批判工具,《静静的更多还原

【Abstract】 Russian "Red Classics" in this thesis refer to Russian revolutionary literary masterpieces appeared in certain period. They have been introduced into China since 1920s and influenced greatly on Chinese Left Wing cultural and literary movement. During 1950s and 1960s when the ideology of "literature serving politics" prevailed in China, these literary works were classicized. When our society comes into a new period with great changes in literary field, their classical significance has been questioned and the literary values of some works have been denied. This thesis makes a survey of the Chinese criticism on Russian "Red Classics" in the past 70 years, focusing on Mother and other three representative Russian "Red Classics", describing the process of Russian "Red Classics" from classicization to declassicization. From a particular angle the thesis inspects the development of China-Russia literary relations and the overall tendency of Chinese literary criticism.The first chapter deals with the beginning of Chinese criticism on Russian "Red Classics" from 1920s to 1940s. Three Russian novels, Mother, The Silent Don and The Cultivated Virgin Land came into the critic’s vision. Mother attracted much attention, the other two novels were comparatively less discussed. They appeared as important Russian literary works and the criticism on them was multidimensional, though fighting and revolutionary inclination was obvious.The second chapter discusses the transformation of the criticism on Russian "Red Classics", including two periods, the 17 years after the establishment of new China and the Great Cultural Revolution. In the first 17 years after the establishment of new China, How The Steel Was Tempered, as well as Mother, The Silent Don, and The Cultivated Virgin Land, came into the critic’s vision. Among these works, The Cultivated Virgin Land was widely noticed by Chinese critics in this period, which made the work come to its climax in the history of Chinese criticism. With the advocacy of "literature serving politics" and political impact on ideology, these Russian literary works were gilded as "Red Classics". Marks of class struggle coveredalmost all the criticism, no matter in character analyzing or theme studying. The realistic significance in class struggle of these works being emphasized, most of the researches were monosemantic. During the period of Great Cultural Revolution, with China-Russia literary relations covered with ice, M. A.Sholokhov was regarded as head of "Russian revisionist art and literature", How The Steel Was Tempered evaporated from the critical vision, Mother became the critical tool of some schemers, The Silent Don and The Cultivated Virgin Land turned abruptly from "classics" into "poisonous weeds". The criticism on Russian "Red Classics" was in sluggish condition.The third chapter focuses on the new criticism on Russian "Red Classics", mainly referring to those researches in the new period. With ideological emancipation and literary criticism returning to its normal track in 1980s, criticism on Russian "Red Classics", with new vision and new methods, came into its flourishing period. During the process of declassicization, the impurities not melted with classics were filtered, while the essence of "classics" was subverted or re-classicized.The forth chapter is the criticism on criticism, an overall reflection on Russian "Red Classics" and classics based on Chinese critical history of Russian "Red Classics", including the research on the forming and modern significance of Russian "Red Classics", the deconstruction and reconstruction of classics.更多还原