性别文化视域中的张恨水与金庸比较研究

【作者】 马琳；

【导师】 李继凯；

【作者基本信息】 陕西师范大学 ， 中国现当代文学， 2012， 博士

【摘要】 张恨水和金庸是20世纪中国文学史上声名显赫的通俗小说作家,他们的小说创作具有通俗文学本质制约下极其鲜明的共性和个性。他们本身以及文学创作中或异或同或糅杂于异同之间的复杂表现使他们之间的比较研究不但有可能而且有趣味。同时,通过张恨水和金庸关乎文学创作的共性与个性特征分析,对于深入把握20世纪中国通俗文学的整体状况也极有意义。作为20世纪中国文学史上最富盛名的两位通俗小说作家,张恨水与金庸之间的比较研究目前尚未充分展开,而以性别视角介入张恨水与金庸的系统的比较研究更是一项学术空白。性别是与文学关联紧密的一个范畴,对于通俗小说而言,其与性别的关系较之其他文学形式更具亲缘性。在张恨水与金庸的文学创作中,和作品创作相关的性别要素格外丰富也格外复杂,它不仅仅与作家主体的生理性别身份、社会性别认同以及心理性别因素相关,而且与文学文本中的性别呈现、文学接受主体的生理、社会、心理性别要素都有密不可分的关系。因此,本文以“性别文化视域中张恨水与金庸的比较研究”为题,选取性别视角介入张恨水和金庸的比较研究,既有对二者主体性别身份与性别意识指导下精神同构现象的关注,亦有对作家复杂心理性别信息差异的揭示；既有对两位作家文学文本中显性性别表象的展现,也有对其中隐性性别信息的挖掘；既有对性别意识指挥下读者群阅读审美感受的研究,也有对读者群基于性别的不同审美需求的关注。而且,性别对个体生命具有本质性意义,这使得以性别视角介入张恨水与金庸通俗小说的比较研究也许更能接近作家的精神世界和作品本质。本文所言之“性别审美”是一种以性别为基本视角考察文学现象的审美活动,是一个具有“性别诗学”意味,既包容又超越的文学批评概念。此概念的焦点在于“性别”而非“女性主义”,它以对男女两性的性别差异认识为基础,即包括女性主义文学批评的基本原理、范畴和标准,有从女性主义立场出发的对文学创作中“菲勒斯中心主义”的批判,同时又有超越女性主义,从宽泛的性别范畴出发理性审视文学创作中其他关乎性别的文学现象。简言之,性别审美是以超越性别的性别视角为观察点的情感评价,它“有性别而不唯性别,注重性别而又超越性别”,试图将涉及作家、作品、读者的诸多文学现象纳入“性别”这一审美范畴之中,探讨性别要素在张恨水与金庸的文学创作、文学欣赏中的种种表现,种种相同与差异,从而借以获得对作家精神世界和作品本质的深入把握。本论文从绪论到结语,主要论述了五个方面的问题：一、在生理、社会性别以及传统男权文化的制约之下,张恨水、金庸小说均具有性别的先验主义和“男性中心主义”的精神同构,这种性别观念以集体无意识的形式潜藏于他们的精神深处,并进而成为他们文学创作中挥之不去的基本性别表达。二、基于作家主体丰富的心理性别信息和文化承袭差异,张恨水与金庸的文学创作在“男性中心主义”的基础上又表现出程度不同、方向各异的性别色彩差异,具体而言即张恨水小说叙事偏于“阴性”的性别色彩与金庸小说叙事偏于“阳性”的性别特征。三、张恨水与金庸的性别气质在表象掩盖之下,还存在以“双性同体”为基础、程度不同的两性气质杂糅现象。这一方面使他们的文学创作呈现出超越作家生理、社会性别制约的复杂丰富的性别信息,另一方面,作家本人对自身潜意识层面的双性气质也存在着或接纳或抗拒的不同心态。这种关乎性别的精神现象使他们之间的比较研究除了上述显然的异同之外,也同样呈现出一种糅杂于异同之间的难以清晰区分的复杂现象。四、张恨水与金庸的性别观在现代文明与传统文化的双重观照下,有着游离于现代与传统、文明与落后、自觉与自在之间的精神挣扎,这在他们的实际生活和文学和实际生活当中都有程度不同、形式各异的体现。五、消费文化以及作为“第二文本”的作家婚恋生活亦对张恨水、金庸文学创作中的性别表达有着或显或隐的影响。全文主体列为七章,且通过对上述五个方面问题的论证,本论文欲得出以下结论：以性别视角介入张恨水与金庸的研究,从而获得对作家作品的深入把握是可能的也是可行的；从性别视角介入张恨水与金庸研究,有对女性主义文学批评中积极元素的认可、采纳,也有对其消极成分的超越。既有从女性主义立场出发表达的性别冲突,也有从超越研究者自身性别立场出发的对性别问题的理性审视；张恨水与金庸小说中的性别元素既有基于两位作者男性中心意识精神同构而表现出的一致性,也有基于作者性别心理差异以及读者性别身份差异而表现出的差异性,更有基于生理、心理以及文化影响而呈现出的复杂性。因此,二者小说中的性别文化元素是丰富而驳杂的；诸如作为“第二文本”的作家主体的婚恋情感生活、大众商业文化等因素对小说中的性别叙事同样也存在着深入而复杂的影响,这使得小说中的性别表达更加丰富,也使此课题研究更有学术趣味。更多还原

【Abstract】 ZhangHenshui and JinYong are famous feuilletonists in the history of Chinese literature in the20th century. They have many differences and something in common in their literary creation. These similarities and differences have business with the popular literature obviously. It makes the comparative research on them possible as well as interesting, and it is meaningful to understand the Chinese popular literature in the20th century from analyzing the similarities and differences about ZhangHenhui and JinYong’s literary creation. As the famous feuilletonists in the history of Chinese literature in the20th century, the comparative research between them has not been fully developed, and the comparative research between them from the gender visual angle is still an academic blank.The gender is a concept that keeps close touch with the literature, and the popular novel keeps closer connection with the gender than other literary styles. The sexual elements that related with the literature are rich and complex in ZhangHenshui and JinYong’s literary creation. It is not only connected with the writer’s biological gender, social gender and psychosocial gender, but also related with the gender performance in the novels and the readers’physiological gender, social gender, psychosocial gender, etc. So it is easier to near the writers’inner world and their works’essence from the gender visual angle.In this paper,"gender aesthetic" is a literary criticism concept that has the "gender poetics" as its base. It is based on the gender but not only the gender, pay attention to the gender but beyond the gender. It is based on the differences about man and woman, trying to put a lot of literary phenomenon about the writers, the works and the readers into the concept:"gender aesthetic", and exploring all kinds of gender performance in the literary creation and the literary appreciation. It includes the criticism about the phallocentrism, and the rational observation to the gender phenomenon about the literature.From introduction to epilogue, this paper has discussed five questions as follows: No1:Under the influence of the physiological gender and the social gender, gender transcendentalism and male centralism exist in Zhanghenshui and Jinyong’s fictions. No2:The psychosocial gender of ZhangHenshui and JinYong are more complex than their physiological gender, it makes their gender view deviated from the male centralism. No3:The literary creation of ZhangHenshui and JinYong has some Bisexual temperament that based on the androgyny.No4:The modern civilization and the traditional culture have the dual influences to the writer’s opinion of the gender and it exists in the literature works. No5:The consumption culture and the writer’s marriage and love also influence the gender expression in the novels.This paper is divided into seven parts. We can get some conclusions by means of the above argument. It’s possible to get the deep understanding of writers and their works through the gender aesthetic; It includes the recognition and acceptance about the feminism literary criticism, but not being limited by the feminism literary criticism; It has the gender conflicts, also has the sexual harmony; The sex element in ZhangHenshui and JinYong’s novels has the consistency that based on male-chauvinism, and also has the otherness that based on the writer’s and the reader’s difference. In addition, the intricate influence coming from the writer’s marriage and the consumption culture also makes the academic research interesting.更多还原