「藝術的社會主義」：田漢、南國運動與左翼世界主義視野下的唯美主義藝術實踐

田漢（1898－1968）是中國現代文學中的唯美主義作家，備受爭議。二十年代是田漢唯美主義發展的全盛期，但他1930年的「轉向」被普遍指為對唯美主義「為藝術而藝術」主張的徹底背離。本文從左翼世界主義的角度提出相反觀點，論證田漢的左轉如何真正體現他作為唯美主義者的絕對堅持。本文先詳細分析過往學界一直忽略田漢於1929年由上海東南書店出版的譯著《穆理斯之藝術的社會主義》中的論點，指出田漢對英國唯美主義代表人物威廉．莫里斯（William Morris，1834－1896）的譯介怎樣為重新理解田漢的文藝生涯與文藝觀提供了重要參照。其次，本文以莫里斯的「藝術的社會主義」為立足點，分析田漢在南國運動（1924－1930）中對於「藝術」與「社會」改革二元並進的主張，以及探討田漢的「轉向」宣言〈我們的自己批判〉中的先鋒性。在有關論述的基礎上，本文重新探討田漢的左轉、左翼文學研究、唯美主義與先鋒藝術之間的連結，乃至中國現代性問題。

關鍵字

田漢；南國運動；唯美主義；左翼世界主義；威廉．莫里斯

並列摘要

Tian Han (1898-1968) is a controversial aestheticist writer in modern Chinese literature. His practice of aestheticism reached its peak in the 1920s, but his ＂transformation＂ in 1930 has been regarded as a betrayal to the aestheticist principle ＂l'art pour l'art.＂ However, this paper holds an opposite view to this and argues that Tian's ＂left-turn＂ implies his absolute steadfastness as a real aestheticist. Through an analysis of the long-neglected work, The Artistic Socialism of William Morris, translated by Tian in 1929, this paper first demonstrates how the introduction of the English aestheticist writer, William Morris (1834-1896), by Tian offers an important point of reference to his own literary life and thoughts. Secondly, based on ＂the artistic socialism＂ as presented by Morris, this paper analyses Tian's idea about the dual reform in ＂art＂ and ＂society＂ during the Nanguo Movement (1924-1930), as well as the avant-garde nature of Tian's article, ＂Our Self-Criticism,＂ which announced his ＂left-turn.＂ Based on the above analysis, this paper aims to re-examine Tian's ＂left-turn,＂ the studies of left-wing literature, the connection between aestheticism and avant-gardism, as well as the problems of the Chinese modernity.