【摘要】：透過布爾迪亞的"場域觀",重新審視夏衍參與和組織的上海左翼文藝運(yùn)動,特別是電影和戲劇運(yùn)動,如何在歷史場域、政治場域和文藝場域的立體結(jié)構(gòu)之中,以各種文藝團(tuán)體活動和優(yōu)秀的創(chuàng)作實績,形成左翼文藝策略性的美學(xué)位置,甚至建立起專屬的美學(xué)空間。進(jìn)一步追問的是,夏衍如何在左翼文藝政策的指導(dǎo)和規(guī)訓(xùn)下,在戰(zhàn)斗文藝和國族論述的訴求下,找到一種政治話語與美學(xué)自覺的平衡點,以夏衍式的細(xì)節(jié)政治美學(xué),參與建構(gòu)左翼文藝的美學(xué)傳統(tǒng)。
[Abstract]:Through Boodia's "field view", this paper re-examines how Xia Yan participated in and organized the Shanghai left-wing literary and artistic movements, especially the film and drama movements, in the historical field, political field and the three-dimensional structure of the field of literature and art. With the activities of various literary and artistic groups and outstanding creative achievements, it forms the strategic aesthetic position of left wing literature and art, and even establishes the exclusive aesthetic space. Further questioning is how Xia Yan, under the guidance and discipline of the left-wing literature and art policy, under the demands of fighting literature and art and national discourse, finds a balance between political discourse and aesthetic consciousness, and uses the detailed political aesthetics of the style of Xia Yan. Take part in constructing the aesthetic tradition of left wing literature and art.
【作者單位】： 復(fù)旦大學(xué)中文系;
【分類號】：I01

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