【作者】 吴浪平；

【导师】 周晓明；

【作者基本信息】 华中师范大学 ， 中国现当代文学， 2012， 博士

【摘要】 本论文的主要研究对象是中国现代作家批评中所体现的中国现代文学意识。所谓“中国现代文学意识”,是指对于中国现代文学本体及其发展建设的认识、预设与反思。在逻辑内容上,包括现代文学的观念意识(包括文学观、价值观、历史观等层面)和建设意识。作家批评在中国现代文学时期十分活跃,在这些批评的背后体现了丰富的中国现代文学意识。这些现代文学意识建构了“现代文学”和“现代文学史”,具有重要的文学史价值。因此本论文的研究目标和内容就是揭示这些作家批评如何影响、改变、塑造了新文学的特质及其文学史走向。论文共分六个部分,各部分主要内容如下：绪论部分,从“批评”到“意识”：,对相关概念进行了梳理。首先解释作家批评的概念,然后介绍作家批评在批评史上的意义,再进而阐释作家批评在文学史建构中的作用,最后进入本文的核心命题：作家批评通过它所承载的文学意识对文学史发生作用。这些现代文学意识,是比各种理论观点、宣言主张、文学活动更为深层的影响制约现代文学发展的内因。从这个意义上说,一部中国现代文学史,也就是一部现代文学意识的发生发展史。第一章,从“文学”到“现代”：主要论述作家批评是如何命名和规定“新文学”,并使之进入“现代”。现代文学的生成,首先是“文学”概念的现代转型,建立西方学科背景下的现代纯文学观念。胡适发起“文学革命”,以白话文学为正宗,奠定了现代文学的现代语言工具。周作人“人的文学”主张的提出,使现代文学获得了现代的精神。“平民文学”的提出,则是对现代文学品格的定位尝试,但这里面出现雅俗的悖论。正是在这些命名中,现代文学被建构起来,其“现代性”意识与特征越来越得到彰显,现代文学从时间意义上的“现代”成为价值观意义的“现代性”。在这里,作家批评发挥了主导的作用。第二章和第三章,“问题”与“主义”：分别从美与政治两个方面辨析现代文学发展中的种种问题与主义。其中第二章主要探讨现代文学如何确立自己的美学合法性的问题。作家们以严肃的态度追求文学的纯粹性和独立性,开创了“文学自觉”的新时代。但是新文学的美学建构是个艰难的过程,其中以新诗的建设最为艰难,新诗人们大胆探索,积极开展诗歌批评与理论建设,表现出丰富多元的文学意识。在新文学的美学建构方面,沈从文作出了独特的贡献,沈从文始终坚持纯正的文学态度,他的批评不仅坚持审美标准,发现批评对象的美,而且其批评文章本身就是优美的作品,给人以美的享受,展现出一种独特的“文学性”,本身就是现代文学美学建构的一个标志。第三章则主要探讨新文学作家们如何处理文学的功利主义走向特别是政治走向问题。现代文学从来就没有脱离时代要求,一直承载着社会使命,因此文学的他律论和工具论观点也是现代文学意识的重要内容,“为人生”观念的就是一个典型。现实主义是现代文学的主流,被现代作家选择与尊奉,有着功利主义的策略性的原因。而“时代意识”也构成革命文学的深层逻辑。现代文学没有放弃功利主义,也没有拒绝政治,建立现代文学的政治美学也是现代文学意识的重要内容,钱杏邨的“力的文艺”是一次有限的尝试。茅盾作为社会功利派的典型代表,他的文学批评有其鲜明的风格,体现了文学要反映社会、分析社会的观念意识。第四章,从“身作”到“心构”：探讨新文学作家如何参与到现代文学的历书写与传统建构中。表面看起来,新文学与旧文学是断裂关系,但实际上有内在的相通。因此新文学运动的倡导者在论证文学革命的合法性时,一种方式是在中国文学的历史源流中寻找依据。这种溯源沟通了新文学与传统的关系,为自己找到更深厚的历史依据。胡适的《五十年来中国之文学》、周作人的《中国新文学的源流》是典型文本。胡适以进化论的思想梳理出历史上的白话文学传统,为新文学找到历史的支撑,并确定新文学在进化的最顶端,从而保证了新文学在现代中国文学上的唯一合法性。周作人则认为中国文学史不过是“言志”与“载道”的不断循环,新文学正是历史上“言志”派的延续。周作人的循环论一定程度上否定了新文学的革命意义,但也有他意味深长的地方。胡适沿着《五十年来中国之文学》的思路,在《白话文学史》中又进一步为新文学塑造了历史正统的地位。对于新文学的合法性证明而言,当代新传统的确立更加重要,《中国新文学大系》的编撰就充分体现了这样的深刻意义。《大系》巩固了新文学的基本文体范围；确定了新文学史的历史分期,在历史分期的处理上体现了新文学意识形态的策略以及内在的分裂；《大系》最重要的是编选者们从不同的角度和意识集体塑造了新文学的整体形象,塑造了新文学史的基本面貌,建构起一段生动丰满的新文学传统。但是《大系》所呈现的历史书写范式很快就被新的更富政治化的书写范式终结了。最后是结语：现代文学作家们的现代文学意识在多种因素的作用下产生,并指向一个目的：现代文学,一个新的文学传统的建立。当代的我们应该用历史的态度去理解、重估和完善。更多还原

【Abstract】 The thesis focuses on the modern Chinese literature consciousness that reflected in the criticism among the modern Chinese writers. The "modern Chinese literature consciousness" refers to the cognition, assumption and introspection upon the modern Chinese Literature and its development. In terms of the logical content, it consists of the concept consciousness(literary view, values system and historical view) and construction consciousness. The criticism plays a very active role during the modern Chinese literature period, and the modern Chinese literature consciousness is fully embodied behind the criticism. This consciousness builds up "modern literature" and "modern Literature history" and bears the significant Modern History value. Thus, this thesis aims to show how the writers’criticism influences, changes and molds the features of new vernacular literature and the trend of literary history.This thesis can be divided into six parts, each part dealing with the following:The transition from "criticism" to "consciousness", is the introduction part for the whole thesis, which reviews the concerned concepts. In this part, the concept of writers’criticism and the significance of writers’criticism in the criticism history are presented respectively. Moreover, the effects of writers’criticism in the literature construction is expounded and finally the key statement that writers’criticism performs an important function in the literature history through the literature consciousness is presented. Compared with different kinds of theoretic views, declaration arguments and literary activities, the consciousness is the profound internal factor that restricts the modern literature development. To some degree, one modern Chinese literature history is the developing history of modern literature consciousness.The first chapter, the shift from "literature" to "modernity", discusses how to name and regulate "New Vernacular Literature" and make it modernized. The generation of modern literature is based on the modern transformation of the literature" concept, which aims to construct a modern belles-lettres concept under the background of western subjects. The literary revolution, sponsored by Hu Shi, regards vernacular literature as the orthodox school, which lays a modern language tool for modem literature. Zhou Zuoren’s views on "human literature" make the modern literature modernized. While, the "popular literature" is the attempt to locate the modern literature quality, in which the paradox of elegance and popularity is presented. However, it is just in the naming that the modern literature is constructed and the consciousness and features of "modernity" have been revealed gradually. Therefore, the modern literature has converted from the modernity in terms of time to the modernity in terms of values. During this process writers’ criticism plays a dominant role.The second and third chapter, "issues" and "doctrine", discriminate the various problems and doctrines in the modern literature development from the two aspects of aesthetics and politics. The second chapter discusses how the modern literature establishes its aesthetic validity. The writers pursue the pure nature and independence of literature with a serious attitude and initiate a new era of literature consciousness. But the aesthetic construction of New Vernacular Literature is a difficult process, especially in the construction of new poetry. New poets make a bold exploration of how to develop poetry criticism and theory construction, which present a rich literature consciousness. Shen Congwen has made great contributions to the aesthetic construction of New Vernacular Literature. He consistently upholds the pure literary attitude. Not only does his criticism stick to the aesthetic standards and discover the aesthetics of criticism objects, but his critical articles themselves are graceful works, give the audience the enjoyment of beauty, unfold a unique "literariness" and themselves are one symbol of aesthetic construction in the modern literature.Chapter three mainly explores the problem that how the New Vernacular Literature writers deal with the utilitarianism trend of literature, especially the political trend. Modern literature is never detached from the requirement of the times and burdens the social mission all the time. So "the theory of non autonymy" and "instrumentalism" are also the important contents of modern literature consciousness, the idea "for life" being a representative. Realism is the mainstream of modern literature. As a result of politic reasons, it is chosen and worshipped by the modern writers. Meanwhile, the "times consciousness" is the deep logic of the revolutionary literature. Modern literature never quits utilitarianism as well as the politics. To construct the political aesthetics of modern literature is also the important content of modern literature consciousness. Qian Xingcun’s "the literature of power" is a limited attempt. Mao Dun is a representative of social utilitarianism school, whose literary criticism has distinctive features and embodies the concept consciousness that literature should reflect and analyse society.Chapter four, from "example setting" to "mind forming", discusses how the New Vernacular Literature writers participate in the writing and traditional construction of modern literature. Though the new literature and old literature is divided outside, they are connected internally. To prove the validity of the literature revolution, the advocators of New Vernacular Literature movement find the evidence in the history origin in the Chinese literature. This origin has connected the new literature and tradition, and found the profound historical evidences for itself. Among the works, Hu Shi’s Chinese Literature in the Past 50 Years and Zhou Zuoren’s The Origin of China’s New Literature are the typical texts. Hu Shi presents the history of vernacular Chinese literature from the theory of evolution, supports the new literature historically, make the new literature reach the summit of evolution, and guarantee the only validity of the New Vernacular Literature in the modern Chinese literature. Zhou Zuoren advocates that Chinese literature history is the continual circulation of "mind expressing"and "doctrine carrying", and new literature is just the continuity of the school of "doctrine carrying". The circulation theory to a certain extent denies the revolutionary meaning of new literature, but in a sense it’s meaningful. Along the thought of Chinese Literature in the Past 50 Years, Hu Shi has further created the orthodox status for the New Vernacular Literature in The History of Vernacular Chinese Literature. For the proof of the validity of new literature, the establishment of new tradition is more important, and the compilation of The Anthology of Modern Chinese Literature is full of deep and profound significane. The Anthology of Modern Chinese Literature strengthens the basic stylistical range of new literature, defines the historical division of new literature history, and embodies the strategy and internal division of new literature ideology. More importantly, the compilers of The Anthology of Modern Chinese Literature has collectively built the integral image of new literature from different perspectives and consciousness, formed the basic outlook of new literature history,constructed a vivid rich new literature tradition. However, the historical writing paradigm presented in The Anthology of Modern Chinese Literature has been terminated by the new politicalized writing paradigm quickly.The last part is the conclusion of the whole thesis. The modern literature consciousness of modern literature writers is generated with the influence of various elements, and points to an objective:modern literature--the construction of a new literary tradition. It’s supposed to be understood, reevaluated and perfected from the historical attitude.更多还原