作　　者： (张煦）;

机构地区： 上海外国语大学

出　　处： 《俄罗斯文艺》 2017年第3期93-104,共12页

摘　　要： "文化神话"是一个比较宽泛的概念,从其诞生源头来看,俄国象征主义者的参与起到了重要的作用。如果说"普希金神话"及其相关的"黄金时代神话"是俄国象征主义者最初制造的"文化神话",那么,由象征主义作家列米佐夫所组建的文学团体"伟大而自由的猿猴议会"与脱胎于其中的"谢拉皮翁兄弟"便共同构成了这一链条的终结。本文从神圣的命名、入侵的历史以及虚构的作者形象三个层面,围绕"日常生活与艺术创造的关系"问题对上述两个文学团体进行了对比和分析,揭示了在这条终结之链上艺术家对待文本、世界与自身的态度发生的微妙变化,并在此基础上进一步探索了"文化神话"的内涵在20世纪初期的流变及其终结的必然性。 ＂Cultural myth＂, a rather general concept, the form of which, being observed from the days of its birth, credits much to the participation of the Russian symbolists. The literature group ＂ Great and Free Parliament of Apes＂ orgnized by symbolist Lemizov and the later ＂Serapion brothers＂ born out of it constitute the final chain of ＂cultural myth＂ produced by Russian symbolists, who at the beginning of the centry created ＂Pushkin＇ s myth＂ , as well as the ＂golden age myth＂ related to it. Based on problem ＂the relationships between daily life and art creation＂, the article compares and analyzes the two literature groups in terms of such aspects as sacred naming, invading history and idealized author image, in order to reveal the subtle changes having taken place in this final chain related to the attitude adopted by artists towards text, the world as a whole and themselves, and further explores the evolution of the connotation of ＂cultural myth＂ in the early 20th century, as well as the inevatibility of its doomed destiny.

关 键 词： 文化神话 列米佐夫 谢拉皮翁兄弟 象征主义