【作者】 梁晓君；

【导师】 孟繁华；

【作者基本信息】 吉林大学 ， 中国现代当文学， 2011， 博士

【摘要】 浩然是中国当代文坛非常重要的作家之一,他的创作跨越了“十七年”、“文革”和新时期三个不同的阶段。他不仅创作了《艳阳天》、《金光大道》、《苍生》、《山水情》等多部中长篇小说,还有大量的短篇小说、散文和儿童文学作品问世。浩然一度在海内外的读者中产生过巨大的影响,同时由于在“文革”时期与主流意识形态话语的密切关系,他也成为当代文坛最具争议性的人物之一。本文认为,浩然的作品,无论是从创作理念、情节结构、人物形象还是语言风格来说,都体现了强烈的本土性特征。而浩然的成长和创作一方面有着深刻的时代根源,另一个方面又与他对文学的理解和个人性格有千丝万缕的关系。本文包括绪论、结语在内共7个部分,其中主体部分五章。第一到三章主要从对毛泽东文艺思想的实践、作品中的阶级斗争话语和乡村叙事三个角度考察浩然创作的本土性特征,第四、五章在回顾浩然评价史的基础上,对浩然作为一位作家的产生和创作进行尽可能客观的评价。本文以传统的社会历史批评方法为主,并结合文化研究、比较研究、传记批评和文本分析的方法对浩然的创作及评价史进行分析。绪论部分首先对浩然的创作进行了四个阶段的划分,并简要回顾了浩然研究现状,指出了其中存在的问题。基于这些问题,本文认为浩然其人其文作为一种文学、文化现象仍然具有分析研究的理论价值。第一章探讨了浩然对毛泽东文艺思想的实践,这主要体现在“文学为了宣传”、“永远歌颂”和“写农民,给农民写”三个方面。从浩然个人的成长经历和创作过程两个角度来看,浩然终生对毛泽东文艺思想矢志不渝是有其合理性的。第二章主要以《艳阳天》和《金光大道》为例分析浩然作品中的阶级斗争话语。首先,就中国当代文学而言,文学作品中阶级斗争的叙事话语是随着土地改革和农村合作化运动的进行而发展起来的。丁玲等人的创作一方面奠定和规范了这类小说的基本叙事模式,另一方面,也完成了乡土文学到农村题材的转换。通过分析《艳阳天》和《金光大道》两部作品中主要英雄人物、中间人物、日常生活细节等方面的变化,我们可以清晰地看到浩然小说中阶级斗争的话语逐渐强势的过程。第三章从乡村风情、人伦情感、农民文化和本土化的语言四个方面分析了浩然对乡土文学传统的继承。浩然的创作细致生动地再现了富于地方特色和乡村情趣的华北农村日常生活场景,而《艳阳天》和《金光大道》两部作品所表现的矛盾和冲突都与阶级斗争有关,但作品中温暖的人伦情感却给人留下了深刻的印象。浩然作品中大量本土化的农民语言,如对绰号、口语和俗语的运用以及个性化的人物语言既增加了作品的生活气息,也增加了作品的乡土文学特质。第四章首先梳理了过去50多年来对浩然的评价。浩然评价史以新时期为界可分为两个阶段,在这两个阶段中,“政治化”的评价是一个共有的评价标准。这种评价标准存在几个问题:首先,“政治化”的批评并没有追究批评自身的责任;其次,它忽略了浩然创作中的某种“真实性”,他曾以自己的方式真实地记录了一个时代的精神,他曾经对那个时代,以及那个时代的读者产生过巨大而深刻的影响。第五章从时代契机和作家自身两个角度探讨了浩然的成长道路和创作理念。浩然的成功不仅是个人努力的结果,也与当时的时代,尤其是对“工农兵作者”的培养有着密切的关系。他的创作方法也是有时代共性的。但是浩然创作中的问题也有他自身需要承担的责任。通过与赵树理的对比,可以看出,主导浩然创作的并不是实际的生活体验,而是先入为主的观念。这也从一个角度解释了浩然之所以无条件地服从主流政治话语,完全地融会于集体意识的一个原因。本章还探讨了浩然性格上的好胜心和虚荣心对他的人生和创作经历的影响,这让我们从另一个侧面看到一个更丰富、更完整的浩然。此外,第五章的最后一节对新世纪以来的11年中浩然研究的新成果就能行了梳理和分析。结语部分认为浩然的一生都与时代政治有着千丝万缕的联系。政治曾经是浩然投身文学创作的原始动力和后续推进力,然而也曾经极大地限制和损害了他的创作。当然,任何人,包括作家在内的知识分子都不可能超越身处的具体的历史环境。但是,从另一方面来说,浩然本人对主流意识形态话语的高度认同,对一度流行的创作观念的无条件接受,对政治话语的文学表达方式都需要反思。只有把二者结合起来,才能够对浩然和他的创作有更加清醒客观的认识。更多还原

【Abstract】 Hao Ran is a unique writer in the history of Chinese contemporary literature and his writing has been through three different stages, namely Seventeen Years, Cultural Revolution and New Period. Hao Ran’s writing covers prose and children’s literature besides long and short novels and has aroused extensive interest and exerted great influence among readers home and abroad. At the same time, however, due to his close relationship with mainstream ideology during the Cultural Revolution, he was also highly controversial in almost 30 years.This dissertation intends to study Hao Ran and his writing basically using the theory of social and historical criticism. The approach of cultural criticism, biography criticism, comparative study and text analysis will also be used as supplements. The dissertation argues that indigenization is a prominent feature in Hao Ran’s writing, which is displayed in his loyalty to the literary theory of Mao Zedong, the narrative of class struggle and the depiction of rural life and customs. Hao Ran’s writing is deeply rooted in political context in China in the late half of 20th century. On the other hand, his understanding of literature, his temperament and disposition also have great impacts on his career as a writer.The dissertation consists of five chapters between an introduction and a conclusion. The first three chapters mainly study the indigenization feature in Hao Ran’s writing, and the last two chapters attempt to make an objective and thorough evaluation on Hao Ran and his writing based on previous studies.The introduction first divides Hao Ran’s writing into four periods. Following a brief review of Hao Ran study in the past years, some potential problems are raised, and based on which, the dissertation proposes that as a literary and cultural phenomenon, Hao Ran and his writing is still of great research value.The first chapter investigates the practice of the literary theory of Mao Zedong in Hao Ran’s writing, which is demonstrated in the three prominent concepts in his art creation: writing for propaganda, forever eulogizing and writing about and for the farmers. Considering the writer’s life experience and his way to fame, the loyalty to Mao’s literary theory is rational and understandable.The second chapter analyzes the discourse of class struggle in Hao Ran’s writing taking Sunny Days and Golden Road as samples. First of all, the depiction of class struggle emerges and develops with the appearance of Agrarian Revolution and Agricultural Cooperation Movement. Ding Ling and other writers established the modes of such novels and with their works the authorative ideology completed its rewriting of land and farmers in Chinese literature. In Hao Ran’s writing, the discourse of class struggle gradually grows and finally attains a dominent position, which can be seen clearly through a study of changes in heroes, people in the middle and details in daily life in Sunny Days and Golden Road.The third chapter looks at the inheritance of local literature tradition in Hao Ran’s writing from four aspects: the depiction of rural life, human relations, rural culture and the use of vernacular language. Hao Ran vividly depicts the country life in north China in his works. The dramatic conflicts in Sunny Days and Golden Road are both related with class struggle, but it’s the warm human relationship that moves readers and leaves them a deep impression. Besides, the use of nickname, vernacular and spoken language of farmers in Hao Ran’s novels adds local characteristics to his writing.The fourth chapter sums up the evaluation of Hao Ran and his writing in the past fifty years. With new period as a divide, the evaluation is separated into two parts. However, in these two totally different periods, critics used the same standard in their criticism, political standpoint, to be specific. It gives rise to some problems. First of all, criticism should be partly responsible for the artistic decline in Hao Ran’s writing; secondly, to a degree it neglects some authenticity in Hao Ran’s writing: Hao Ran keeps a vivid record of the farmer’s revolutionary spirit with his pen and has exerted great influence on readers in that era.The fifth chapter studies the growth of Hao Ran as a writer and his literary concepts. His success not only results from his own efforts but also has an indispensable relationship with the political context then, especially with the cultivation of writers among workers, farmers and soldiers. His creative approach bears striking similarities with other writers in that era. He himself, however, should also hold responsibility for the problems in his writing. It is preconceived ideas instead of life experience that guide his writing, which can be seen clearly from a comparison with Zhao Shuli. And it also accounts for the fact that Hao Ran was able to completely merge himself in mainstream ideology discourse. This chapter also probes into Hao Ran’s personality and this investigation helps to present a more colorful and comprehensive image of the writer. The last section in this chapter summarizes and analyzes new achievements in Hao Ran study during the past 11years in the new century.The conclusion of the study is that Hao Ran’s writing is strongly related with politics. Politics served as a major motive and impetus for his devotion to writing, but at the same time it limited and hampered his career as a writer for some time. On the other hand, Hao Ran’s identification with the mainstream ideology discourse, his unconditional acceptance of popular social thoughts and his overt expression of political idea in literature also deserves reflection. Only by combining the two aspects can we gain a proper and thorough understanding of Hao Ran and his writing.更多还原