摘要
在中国现代文学史上，由梁实秋引起的文学论争至少有三次，它们分别是：１９２２年梁实秋与一些文学研究会成员的论争、２０年代末梁实秋作为新月社理论家与左翼文艺阵营的论争和抗日战争时期关于"与抗战无关"的论争。梁实秋文学观点的变化正反映了中国现代文学中"艺术至上主义"观念流变的轨迹：从２０年代早期主张"为艺术而艺术"到２０年代末固守"人生的艺术"，再到抗战时代退求"与抗战无关"。旗号尽管大有改变，但主张艺术"至上"的实质却始终如一。"艺术至上主义"在中国现代文学中的命运颇耐人寻味。
In the history of modem Chinese literature, there were at least three literary continversies whichwere caused by Liang Shiqiu. abstract They were, respectively, the one in 1922 between Liang and somemembers of the Society of Literary Research, the second one in the 1920s between Liang as thetheoretician of the New Moon Society and the Left-Wing Art and Literature Camp, and the third oneduring the Anti-Japanese War, about 'nothing to do with the War of Resistance Against Japan'.Changes in Liang's literary ideas during these debates are just that which reflect the evolutionary course ofthe notion of 'art being supreme' in the modem Chinese literature:from the position of 'art for art'ssake' in the early 20s to the tenaciously-defended stand of 'art for life''in the late 20s, and then,retrogressingly to seeking after a certain literary view of 'nothing to do with the War of ResistanceAgainst Japan'. All those viewpoints about literature, though advocated under changed names, are inessence the same as claiming that art was 'supreme'. The doctrine of 'art being supreme' in themodem Chinese literature and its fate give us much food for thought.
出处
《西北师大学报（社会科学版）》
CSSCI
北大核心
1999年第3期31-34,共4页
Journal of Northwest Normal University(Social Sciences)
