| dc.contributor | 中國大陸研究 | - |
| dc.creator (作者) | 周玉山 | - |
| dc.creator (作者) | Chou, Yu-Shan | - |
| dc.date (日期) | 2001-02 | - |
| dc.date.accessioned | 2-May-2019 10:50:42 (UTC+8) | - |
| dc.date.available | 2-May-2019 10:50:42 (UTC+8) | - |
| dc.date.issued (上傳時間) | 2-May-2019 10:50:42 (UTC+8) | - |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/123181 | - |
| dc.description.abstract (摘要) | 二○○○年十月十二日，瑞典皇家文學院宣布，中國旅法作家高行健，獲得諾貝爾文學獎。他成為百年來的第九十七位得主，第八位非歐美人士，第一位華人。消息傳出後，全球華人為之歡騰，分享這百年僅見的殊榮，唯一的例外則來自中共。中共認為，諾貝爾文學獎不是從文學角度評選，有其政治標準。其實，文學是哲學的藝術化，哲學為骨，藝術為表，哲學為骨，藝術為肉；表裡合一，骨肉相連的作品，謂之文學。準此以觀，高行健的創作若合符節。至於中共的文藝政策，才有其政治標準。文學本來說就是一種反抗，抗議的對象或為自身，或為他人，或為社會，或為政權，後者當然視政治為生命，排除異議作家往往不遺餘力，加深了文學與政治的對立。文學是有情者的事業，政治是無情者的事業，以有情對無情，能不失望者幾稀。高行健對中共的失望，堪稱歷史的必然，而主要即來自對文學的堅持與維護。文學通常始於孤寂，是作家的自我完成，在他看來，原本與政治無關，任何運動和集團也都幫不上忙，只有獨立不移，才能贏得徹底的自由。中共的文藝政策，既以政治為重，則大陸作家不乏受害者，高行健即為一例。一九九一年，中共不但查禁他所有的作品，開除他的公職，也查封他的住房。如此趕盡殺絕，可謂目無憲法。中華人民共和國憲法第三十五條規定，公民有言論、出版、集會、結社、遊行、示威的自由。第三十九條規定，公民的住宅不受侵犯，禁止非法搜查或非法侵入。這樣的「良法美意」，卻遭中共自己破壞，只因高行健被定位為異議者，相關的自由遂被剝奪殆盡。文學與政治的緊張關係，在大陸歷久不衰，中共的文藝政策不能辭其咎。政治既為一門藝術，自宜重視中庸之道。對共產黨領袖而言，藝術卻是政治的一部分，因此有文藝政策之設。大陸作家早已呼籲，要改變驚弓之鳥的現象，首應消滅驚烏之弓。此弓即為文藝政策，長期以來由中共領袖和文藝幹部掌握，偶有鬆手之時，但無棄弓之日，從過去到現在，莫不如此。所以，從現在到未來，我們不易立即看見，真正的百花齊放會在大陸文壇出現，雖然這句口號已經標榜了數十年。 | - |
| dc.description.abstract (摘要) | The PRC government was not thrilled to hear that Gao Xingjian, a Chinese writer residing in France, became the winner of the Nobel Prize for literature on October 12, 2000. The government complained that Gao was selected based on political reasons rather than literary criteria. Beijing`s literary and art policy always gives top priority to ”serving politics.” Many mainland writers, including Gao, have been victims of such a policy. In 1991, Gao was dismissed from public office, expelled from his residence, and saw all his writings banned simply because he was classified as a dissident. His freedom to write was deprived-in violation of the PRC Constitution. In fact, such a literary and art policy accounts for the continued tension between literary works and politics in mainland China. Politics is in itself an art and should emphasize taking a middle-of-the-road approach. For Communist leaders, however, art is a part of politics. They therefore formulated a policy on literature and art. Mainland Chinese writers have long called for the elimination of such a policy, but Communist Chinese leaders and literary and art cadres have always used the policy to maintain control over literary and art circles. Therefore, mainland Chinese writers and artists do not truly enjoy freedom of expression. | - |
| dc.format.extent | 1322714 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 中國大陸研究, 44(2), 77-93 | - |
| dc.subject (關鍵詞) | 文藝政策;冷的文學;沒有主義;社會主義現實主義;工農兵文學;為人民服務;為社會主義服務 | - |
| dc.subject (關鍵詞) | policy on literature and art ; cold literature ; nihilism ; socialist realism ; worker-peasant-solider literature ; serving the people ; serving socialism | - |
| dc.title (題名) | 從高行健獲獎論中共的文藝政策 | - |
| dc.title (題名) | Nobel Prize Winner Gao Xingjian and the Literary and Art Policy in the CCP | - |
| dc.type (資料類型) | article | - |
