摘要
林语堂在20世纪二三十年代的创作发生了明显的变化,但如何评价这一变化,成为学者们长期争议的话题。肯定前期创作的学者,多从社会性的层面考量;肯定后期创作的学者,则多从文学性的角度观照。不同视角的切入,极大地拓展了林语堂研究的空间。但考量一个作家的创作是否成熟,不能仅依据社会学或文学性的单一尺度,创作风格、思想主张稳定与否都是重要的考察标准。20世纪20年代,林语堂仍处于"文化认同"的"延展期",思想尚未稳定,文章论点常来源于鲁迅、周作人、钱玄同等名家。及至20世纪30年代,林语堂在西方文化中发现了克罗齐的美学理论,并将之与道家文化相融合,明确地提出了"艺术即表现"、"表现即艺术"的口号,开始形成自己鲜明的理论主张。
How to evaluate the changes of Lin Yutang＇s thoughts during 1920s-1930s has long been a controversial topic among the academic circles. Those who enjoy his early works focus on their social effects, while those who emphasize his late works take the literariness into con- sideration. However, whether a writer＇s creation is mature or not depends more on the stability of his or her writing style and the thoughts expressed. In 1920s, Lin Yutang was still in the ＂extended period＂ of ＂cultural identity＂. He hadn＇t formed his unique theories untill he finally found Benedetto Croce＇s theory of aesthetics, integrated it with Taoism culture, and creatively put forward ＂Art is performance ＂ and ＂Performance is art＂ in 1930s.
出处
《延边大学学报（社会科学版）》
CSSCI
2013年第6期122-126,共5页
Journal of Yanbian University：Social Science Edition
