【作者】 石健；

【导师】 王学谦；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2011， 博士

【摘要】 靳以早期爱情小说多以个人情感波折为蓝本,以极端情绪化为醒目特征。作为主观性严重的作家,靳以的人生体验充斥着阴郁、伤害、憎恨的阴影,这在整个创作中留下了深深的印痕。他始终在一种强烈的怨恨情结驱动下写作,许多作品都明显带有忧愤交织的色彩。而早期作品中自我中心主义的蔓延,使靳以延续了极端化的思维方式,导致判断、认识、处理问题的简化,在对人性之恶的体认中,夹杂着一种向整个世界和人类寻求抱复的扭曲心态,破坏大于建设、以全面毁灭为主要手段的无政府主义色彩,在其作品中相当浓厚。不过,在1935年之前的早期作品中,靳以体现了多方面的才华,在滥情化的同时既有委婉、细腻的爱情作品,也有关注小人物和异域流亡者的悲悯之作,还以一种粗犷豪放的风格,创作了关注东北民生的小说。在这些作品中,充分体现了靳以的人道主义情怀。靳以积极而自觉地试图融入1930年代的大众化文学潮流,反复书写着“从个人到众人”的时代主题,一直延续着“五四”以来为人生的文学传统,呼唤正义与光明,批判丑恶与黑暗,但也产生了诸多主题先行的急就章。单纯的惩恶扬善、爱憎分明框架,使他的作品呈现出严重的模式化特征。由简单的道德评价来批判人性的阴暗,使其民粹主义追求常处于巨大的摇摆之中,总是难以摆脱情绪化的弊病。《前夕》等抗战作品,充满强烈的宣传鼓动色彩,也影响了艺术效果。靳以的创作旅程,从奔腾不止的情感漩涡投入源泉枯竭的时代主潮,不啻从一个极端走向另一个极端。题材的单调与重复背后,折射出作家一直受制于精神的桎梏而无法超越自我,从而导致创作生命主体性的严重缺失。当然,这种在追赶时代中迷失自我、无法超越早期创作的教训,在现代作家中又绝不是靳以本人独有的。靳以的小说与散文呈现出一种高度的同构性特征,这与其对现实的怨恨心态,以及主动放弃诗歌而从事散文体写作的选择密切相关。靳以的大量散文,在极端暴烈风格的间隙,也有一些面貌不同的佳构,相对于小说体现了更为持久的生命力。靳以曾主编多种大型文学期刊,如《文学季刊》《水星》《文季月刊》《文丛》《收获》等,绝大多数与左翼文学期刊声气相求,是中国现代文学主潮的有机组成。靳以还长期担任复旦大学教授,通过编辑与教育工作,培植和发现了许多文学新人。靳以浓厚的政治参与意识,与对文学战斗功用的强调,必然影响到他的编辑思想。总之,靳以是一位追求进步、光明与正义的文学工作者;靳以的限度,既是他个人的,也是一个特定时代的。靳以通过文学活动,为中国新文学史做出了坚实的贡献,应该引起足够的关注。他的文学生涯,亦可为探询现代知识分子艰难而矛盾的精神之旅,提供富有意蕴的个案。当前对靳以的研究既不充分,同时存在诸多问题。一些经典文学史著,包括著名学者,在对靳以尤其是其文学创作方面的研究,做出了十分粗疏乃至甚为荒谬的论断,反映出现代文学界对非一流作家的研究中还存在相当薄弱的环节。对靳以编辑思想研究的欠缺在于:一是受制于传统研究的误区,流于空泛,而没有结合作家整体文学创作和文学观念进行深入研究,而这对于长期被误读的靳以来说尤为重要。二是由于靳以编辑的刊物具有编辑人员较多的复杂性,尤其是初次接编的《文学季刊》,虽然他承担主要编务,但是在选稿方面有多大的权限则要细加甄别,这样方不致被期刊的面目遮蔽其独特的编辑思想。三是由于年代久远,史料匮乏。以上欠缺也是目前许多文学期刊研究大同小异、缺乏深入开拓的写照。为此,结合靳以的创作实践与文学观念,以此还原其编辑思想,不失为一条有效的路径。存在问题更多的是对于靳以文学创作的研究。第一,这是由靳以本身相对贫乏的创作实绩所决定的。第二,存在以人格论文品的弊端。在许多人的回忆中,靳以为人宽厚、待人友善,其“平凡化”创作风格的定位与此不无关系,这也就忽视了作品中极端情绪化的一面。而靳以于1959年去世,对其研究亦有许多为逝者讳的因素,即多带有缅怀性的溢美成份。最典型的例子,就是对以《圣型》为代表的早期爱情作品进行人道主义的误读,从而既遮蔽了作家对待女性非常苛刻而偏激的态度,也大大忽视了这些作品对此后创作的影响。第三,还暴露了传统研究中的一些问题:首先,或以题材和内容为依据,或以作家的宣言为依据,将靳以的创作一刀切为截然不同的时段,忽视了作家的整体创作倾向。其次,陈陈相因,对前人的结论缺乏深入辨析;最后,由于靳以文学活动的复杂性,有人从其文学活动区域、接近的文学团体等方面出发,生硬地将其归属为某一流派或团体,既曲解了靳以的创作,又遮蔽了其独特之处。第四,尽管建国后的靳以文集出了不少,但所选的作品主要局限于“呼唤光明”的一面,远远不能体现其创作全貌。一些很有特色的作品如《洪流》《夜》等,长期湮没无闻,没有引起足够的重视。因此,对靳以的文学活动重新评价和深入研究既十分必要,又大有发掘的潜力,同时可以为深化现代作家研究、探求新的学术增长点提供有益参考。本文在文学史脉络中重新梳理靳以的整体文学活动,尤其针对以往研究中存在的问题予以辨析和匡正,力求有所突破,以收抛砖引玉之效。更多还原

【Abstract】 Jin Yi’s early romantic novels featuring with extreme emotions are based on personal love affair. As a very subjectively sentimental writer, Jin Yi’s early life experience was filled with shadows of gloom, hurt, and hate, which has left a deep imprint in his whole works. From early love stories he has been driven by a strongly resentful complex, many of his works thus are significantly intertwined with the color of anxiety and anger.With the spread of strong egoism in his early works, Jin Yi has prolonged a extreme way of thinking, leading to simplification in judgements and recognition dealing with problems.The deep sense of evil human nature makes Jin Yi take revenge of the whole world very earnestly. The distortion of this mind always result in means of destruction rather than construction, along with an anarchism color.However, Jin Yi’s works before 1935 reflect a wide range of talent, for example, some delicate love stories appeared together with the extremely sentimental ones. Some novels show great sympathy towards“minor ones”, as well as exiles from other countries. Jin Yi also wrote novels concerning about the livelihood of Northeast with a wild and bold style. All of these works fully reflect Jin Yi’s humanitarian feelings.Jin Yi actively and consciously tried to integrate into the literary trend of popularization in the 1930’s, and repeatedly wrote”From the Individual to the People”theme of time. His works also extented the "May Fourth" tradition of“For the Ordinary People’s Life”, that is, calling for justice and light, criticizing ugliness and darkness. At the same time, a lot of coarse works as“theme first”emerged in haste.The framework of simply punishing evil and praising virtue with pure love and hate, result in serious shortcomings of modeling. His pursuit of populism often appears in a huge swing due to criticism on dark human nature based on simple moral evaluation. And it’s often difficult for Jin Yi to get rid of serious emotional malpractice. The works of Anti-Japanese War such as Eve with strong propaganda color,damage the artistic effect severely.Jin Yi’s writing is like a journey from an emotional vortex into a dried-up era of tide, from extremity to extremity. The dull and repeated theme reflects that the writer can not go beyound himself under spiritual shackles. It inevitably results in serious lack of subjectivity needed by creative life.This lesson is not unique for Jin Yi among Chinese modern writers who were lost in chasing time rorrent and could’t surpass themselves.Jin Yi’s novels and proses have highly similar feature. This phenomenon is related with Jin Yi’s resentful mentality on reality and his choice for prose writing rather than poetry. There are some colorful masterpieces of Jin Yi’s proses among large amount of extremely violent ones. His proses also have more lasting vitality compared with novels.Jin Yi is chief-editor of some famous large literature periodicals, such as Literature Quarterly, Mercury, Wenji Monthly, Wen Cong, Harvest,etc., most of them are highly related with Left-Wing literature periodicals which are organic composition of main stream in Chinese modern literature. JinYi has been a literary professor in Fudan University for a long time. Through his work as editor and teacher, Jin Yi cultivated and found a lot of literary newcomers. The strong political eagerness of participation and emphasis on combative literary function, inevitably have great effect on Jin Yi’s editorial ideas.In short, Jin Yi has been always in pursuit of progress, light and justice during his literary life. Jin Yi’s limits are both of himself as well as a specific era.Jin Yi has made a solid contribution to Chinese new literary history through his literary activities.He derserves enough attention. His literary career, as a meaningful case, also can provide a vivid example of exploring the hard and contradictory spiritual journey of modern intellectuals.But the current research on Jin Yi is not only insufficient but also seriously debatable. Some classical literary history works, as well as famous scholars, have made deficient even absurd conclusions about Jin Yi, especially his literature creation. This phenomenon reflects that the research on writers out of the first class is still very incompetent.The defect on Jin Yi’s editorial thoughts research lies in: Firstly subject to some errors of traditional research on literary editing.Without the combination of literary ideas and works it’s must have been so empty.for the in-depth research on Jin Yi. It’s particularly obvious because he has been misread for a long time. Secondly, because Jin Yi’s editorial activities are so complexed, especially Literature Quarterly, the first one Jin Yi engaed in as an editor-in–chief, was participated by so many people. So it’s very important to discern Jin Yi’s authority of selecting articles. Only by this way could his unique editorial ideas not have been obscured. Thirdly, it’s not easy to get abundant historical materials because it’s so far away from the time of Jin Yi’s editorial career. The deficiency in research on Jin Yi is the common problem of research on literary editing. Most of the reasearches are very similar and lacking in-depth exploration. To this end, it’s a very efficient way to restore Jin Yi’s editorial ideas combining with his writing career and literary opinions.Deficiencies are more obvious in research on Jin Yi’s literary works. Firstly, it is because of Jin Yi’s relatively poor creation. Secondly, there exists the wrong way of judging a writer’s ability according to his personality. In many people’s memories, Jin Yi is a generous one, so kind and amiable to others. The writing style of trivialization is closely related with this orientation. But this inclination ignores the extremely emotional side of Jin Yi. Jin Yi died in 1959, the research on him has a lot of factors that raise respect for the dead and is inevitably more flattering with reminiscent ingredients. The most typical example is Jin Yi’s Holy-type, which is often misread as the representative of humanitarian novels. This misunderstanding not only hides the author’s extremely harsh attitude towards females, but also ignores the huge impact of the love stories upon the after-works of Jin Yi. Thirdly, it also reveals some deficiencies of traditional research: First of all, cut Jin Yi’s creation into definitely distinct periods based either on content of the works or declarations of the writer, ignoring the overall creative intention of Jin Yi. Next, due to lack of deep analysis on the precedent conclusions there exists phenomenon of routinization.Finally, because of the complexity of Jin Yi’s literary activities, some researchers arbitrarily assigned him to some schools or organizations based on literary zones or groups.This method results in not only misreding Jin Yi’s works, but also sheltering their uniqueness. Fourthly, There are lots of collected works of Jin Yi after liberation, however, they are mainly restricted to the side of "calling light". This part of works is far from enough in deep understaning of Jin Yi’s full production. Some very unique works such as Torrent, Night, have been submerged for a long time, and have not aroused enough attention.Therefore, the revaluation and further study on Jin Yi’s literary activities is not only very necessary, but also very potential. At the same time, this effort can provide reference in deepening research on modern writers and exploring new academic field.This paper is aim at revaluating the overall literary activities of Jin Yi in the context of Chinese modern literary history. It especially focuses on anylyzing and ractifying the problems of previous researches, and strives for breakthrough serving as a modest spur for the upcomging study.更多还原