论中国散文理论的现代性转变

【作者】 颜水生；

【导师】 王景科；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2011， 博士

【摘要】 本论文的研究对象主要是1872年《申报》创刊始至20世纪40年代的中国散文理论。试图以历时性与共时性相结合的研究方法打破以往散文理论研究中的共时性结构,不仅梳理中国散文理论的现代性转变的历史线索,而且概括中国散文理论的现代性转变的结构性特征。导言部分简单介绍本论文主要解决的问题以及相关的研究现状、意义及方法,阐明了中国散文理论的现代性转变是与中国启蒙运动的发展相结合,启蒙现代性和审美现代性是中国散文理论现代性转变两个主要方向。第一章阐明中国散文理论现代性转变的缘起。第一节阐明中国启蒙运动不仅为中国散文理论的发展提供背景和动力,而且充当了主体思想和核心内容;晚清报刊与启蒙运动的耦合为散文理论的现代性的转变提供了基础和条件,“文界革命”中产生的“新文体”是中国散文理论启蒙现代性创建的重要标志。第二节阐明晚清至五四时期文艺理论的审美追求为中国散文理论的现代性转变指明了方向。第二章阐明中国散文理论现代性转变的路径。第一节阐明白话文运动与启蒙运动相结合促进了中国散文理论现代性的发展,白话文运动促进了散文的语体变革,“散文的革命”吸收了白话文运动的成果,促进了散文的文体变革。第二节阐明了晚清以降的人学思想,尤其是五四时期的“人的文学”理论促进了中国散文理论现代性的突进,个人主义理论和自我表现理论在这一过程中占有重要的位置。第三章阐明中国现代性散文理论的主要范式,依据库恩“范式”理论,中国现代性散文理论可以概括出“美的散文”、Essay、小品文等多种范式。第一节阐明“美的散文”是中国散文理论现代性发展的标志,“美的散文”在理论建构上体现了“文学性”与“美文性”的统一,在文体要求上体现了内容与形式、个性与共性的统一。第二节阐明西方现代性对中国散文理论的现代性具有十分重要的意义。在中国散文理论现代性的建构过程中,西方“Essay”被建构为现代性之偶像。第三节阐明现代性的张力结构在小品文理论中,主要表现为外来资源与中国传统的分野及合流,以及艺术形式与思想内容的偏至与统一。更多还原

【Abstract】 This paper mainly Studied the Chinese prose theory which was from 1872 which ShenBao was Established to 1940s. This paper attempted to use the method which integrate with diachronic and synchronicity to break the synchronicity structure in the study of prose theory. Not only through the history clues in the modernity transition in the Chinese prose theory, but also summarized the structural characteristics in the modernity transition in the Chinese prose theory.Introduction of this paper mainly introduced the problems which need to solve ,relevant studies, significances and methods, clarified which the modernity transition in the Chinese prose theory integrated with the development of the Enlightenment in China, and clarified which the Enlightenment modernity and Aesthetic modernity were the two main directions in the modernity transition in the Chinese prose theory.Chapter one clarified the origin of the change of the modernity in the Chinese prose theory. Part one clarified which the Enlightenment in China not only providing the development of the Chinese prose theory with background and motivation, but also as the principal and core, newspaper in The Late Qing Dynasty coupled with Enlightenment provided foundations and conditions to the modernity transiting in the Chinese prose theory. The new literary style which generated from literary revolution was the important sign of the establishment of the enlightenment modernity in the Chinese prose theory. Part two the Aesthetic pursuit of the Literary theory from The Late Qing Dynasty to The May-forth, which indicated direction of the change of the modernity in the Chinese prose theory.Chapter two clarified the path of the change of the modernity in the Chinese prose theory. Part one clarified which Colloquialism movement coupled with Enlightenment promoted the development of enlightenment modernity in the Chinese prose, Colloquialism movement promoted the stylistic changes of prose, and Prose revolution which absorbed the results of Colloquialism movement, promoted the stylistic changes of prose. Chapter two clarified which the theory of man after the Late Qing Dynasty, especially the theory of literature of human in May Forth period, promoted the spearheading of the modernity of the Chinese prose theory, the theory of individualism and self-expression were very important in this process.Chapter three clarified the modernity Chinese prose theory which can be summed up many paradigms, such as the aesthetic prose ,Essay and Essays, based on the PARADIGM theory of Thomas S.Kuhn. Part one clarified which aesthetic prose was the sign of the development of the modernity. The theory of aesthetic prose reflected the unification between the literariness and beautiful essay’s qualities, the content and form, and the individuality and generality.Part two clarified which Western modernity were of great significance to the modernity of Chinese prose theory. In the construction process of the modernity of Chinese prose theory, Western "essay" was constructed to be the Idol of the modernity. Part three clarified which the tension structure of the modernity in the Essays theory, mainly presented the interfluve and confluence between external resources and Chinese traditions, the deviation and unity between art form and ideological content.更多还原