【作者】 陈桃霞；

【导师】 樊星；

【作者基本信息】 武汉大学 ， 中国现当代文学， 2013， 博士

【摘要】 本文以“20世纪以来中国文学中的南洋书写”为研究对象,考察国人在与东、西洋以外的异域交接时的别种文学风貌,进而从一个时代的社会进程中考察个体在不同历史境遇中的流亡、抵抗、挣扎、遗忘等命运。分为现代南洋书写与当代南洋书写。现代南洋书写以南洋为空间,考察1920——1940年代以来中国知识分子在启蒙与革命之间的复杂抉择,以五四留洋作家群、海派作家群与革命作家群的南洋书写为主要研究对象。当代南洋书写较为驳杂,从题材与主题上开始走向深沉博大,洋溢着悲辛慷慨之气。在对其进行总体分析的基础上,从远征军书写、传统作家群的南洋书写及南洋书写的多元化三个方面进行分析。当代南洋书写对战争、历史、民族、现代性等等进行了深入的思考,革命开始占据主导,其中消费性开始凸显。绪论阐述了本研究的缘起、研究对象及研究现状、研究方法,并将现代南洋书写与同时期的东、西洋书写进行比较。相对于后者的理性、幽默、洋派而言,现代南洋书写普遍较为闲适,知识分子的现代性焦虑得以舒缓。第一章主要探讨五四留洋作家群的南洋书写。这一群体的书写在想象中兼有启蒙与家国之思,显示了知识分子在传统与现代、革命与启蒙之间的复杂心态。老舍的南洋书写是对康拉德帝国神话的逆写,其间有革命隐喻,老舍所建构的乌托邦形象有着明显的大中华倾向。徐志摩借南洋展开情欲想象,这种想象在海派作家中进一步发展。郁达夫在自我放逐南洋的过程中,其书写带有明显的故国之思与家园之痛,其古典诗词也是流亡者心曲的反映。第二章主要从传奇浪漫的故事、宗教精神的多元表现、南洋弃妇中的男权话语、南洋风景及南洋形象这五个方面对许地山的南洋书写进行探讨。在五四作家中,许地山是少有的从文化视角对南洋表达真实的热爱的作家,其南洋书写在宗教思想的烛照下显示出传统文化的趣味与情怀,他所塑造的艺术形象具有深邃的宗教感,在20世纪有特别的意义。第三章主要探讨了海派作家群的南洋书写。张爱玲的南洋书写是一种基于“他者”的文化想象,徐訏与刘呐鸥都对南洋进行了情欲化处理,显示出经传媒塑造与定型的南洋对中国现代作家南洋书写的影响。总体而言,这一群体的书写未能接近真实的南洋,带有较大的虚幻性与想象性,缺少对南洋的社会历史思考,展示出来的只是单向度的南洋。第四章对南洋游记作家群的书写进行分析。在梁启超、斐儿、巴金笔下,南洋被赋予了一种浪漫想象,成为现代知识分子的归隐之地。他们既表现出传统游记文学的闲逸,对山水风光的悠然沉醉,也带有现代理性的思考,南洋成为现代知识分子暂时越界,以生活政治抵抗解放政治的媒介。第五章主要考察1920——1940年代流浪或逃亡至南洋的革命作家的南洋书写,并与五四留洋作家、海派作家的南洋书写及国内左翼文学进行比较。革命作家群的南洋书写展现了南洋的社会历史面貌,在表达方式上开始由虚构向写实过渡,其中依然有着革命知识分子的浪漫想象。它凸显了革命的主题,呈现出一股悲壮的气息。杨骚的南洋书写忧愤深广,从中可以梳理出其思想史线索。流亡作家洪灵菲、沈兹九、胡愈之、巴人的南洋书写,浪漫而悲壮,形态纷呈。西方作家的流亡书写对自由、强权、暴政、战争进行了深入的思考,具有一定的超越性,中国革命作家在流亡中感时忧国,思考民族命运,对新中国进行浪漫想象。上篇总结旨在对现代作家的南洋书写进行一番文化学考察,通过这些南洋文本所展现的域外图景来透视知识分子的文化心态,现代作家的南洋形象既部分反映了南洋的现实,也传递了其自身所代表的文化正统。简要地对近现代中西方作家的南洋书写进行比较可以发现,相比于西方知识分子用“异”的眼光来观照南洋或者东方,中国现代作家多的是“同”的视角,这其中有南洋与国内文化、历史、社会形态的相似,也与这些知识分子较为封闭的思维结构有关,这造成的是文本较为狭隘,缺乏宏观的视野。第六章主要探讨了当代南洋书写的基本特征,挖掘出远征军、原国军与流亡知青这三大群体。20世纪中国文学中的南洋书写表现出启蒙、革命与消费三大主题。当代南洋书写中,革命占据主导,南洋革命不同于国内革命,主要是以失败为底色；表现出悲壮、崇高与深沉之美；当代南洋书写抵制遗忘、仰望父辈,在世俗化时代弘扬理想主义与英雄主义情怀；它具有反思战争、政治、历史、人性的意义。80年代末期以来,当代南洋书写呈现出多元化特征,其中,消费话语开始蔓延。第七章主要对20世纪的远征军书写进行基本的梳理,这一书写经历了战地报道、史料与纪实文学上的历史还原、文学想象与虚构三个阶段。现代远征军书写在弘扬民族精神的同时,情感基调昂扬悲壮,表现出对战争中个体的关怀,对生命的深切哀痛,具有一定的哲理意蕴。西南联大写作群体显示了知识分子的政治情怀。当代远征军书写塑造了传统军人群像,形成一种悲剧的文本体验,在异域元素的渲染中,它或承担着作家对新国民性的反思,或表达一种消费主题。现代远征军书写重个体,语言有古朴之美；当代远征军书写重理性之思,苦难意识稍弱。以周梅森、张廷竹为代表的80年代远征军书写,无论是对人性的挖掘还是对传统文化品格的弘扬都体现了知识分子的启蒙意识。第八章主要探讨了传统作家群的南洋书写。其中有岭南归侨作家群(黄浪华、陈残云、杜埃),闽籍作家群(司马文森、杨金远),侨生王啸平,也有以写中缅边地小说闻名的反映南洋流亡、展示异域奇风异俗的苗族作家李必雨。这一群体普遍以传统现实主义手法对往昔岁月进行回顾,表达“回归”祖国的主题,他们通常对南洋风情及家乡风俗较为熟稔,在写作中表现出一种现代的家园感,弘扬爱国主义与民族情感,具有传统的忧患意识与现代反思精神。第九章主要从多元化角度对南洋书写进行分析。探讨了新时期以来的南线书写,挖掘其文学史意义及写作前景,南线书写经历了从人性到战争本体的反思,但迄今尚未产生有足够分量的文本。当代南洋书写在启蒙与革命的主题中高扬起理想主义的旗帜。陈河的书写具有寻找历史记忆的意味,王安忆以南洋华侨展示了南洋从战乱到和平时期的嬗变,对人性进行了深刻的表达,邓一光将理想与现实倾注在主人公天赫与天扬身上,讲述了后革命时代理想主义者人生选择的殊途同归。其中王安忆的后期书写反映了社会思潮与文学思潮的多元化,并与曾焰的知青日常生活叙事共同构成当代南洋书写的生活政治追求。下篇总结认为,相比于现代南洋书写的士大夫浪漫情怀而言,当代南洋书写更为关注民族命运、人类生存等重大课题,呈现出深沉的理想主义、英雄主义色彩。最后一部分为结语。总体而言,20世纪以来中国文学中的南洋书写展示了青春、理想、英雄、革命、漂泊、流亡等精神性话语,呈现出浪漫传奇、悲壮热烈的审美风格,显示出对世俗化时代的反拨。更多还原

【Abstract】 The paper chooses "Nanyang Writing in the Chinese Literature Since the20th Century" as the subject, observing and studying the special literary appearance when the Chinese associate themselves with foreign lands besides the West and Japan, inspecting the fate of exile, resist,struggle and forget of individuals in the historical circumstances from an era social process. The paper will be divided into two parts: modern Nanyang writing and contemporary Nanyang writing. The former sets nanyang as a space to construct the complex choices between enlightenment and revolution of the Chinese intellectuals from the1920s to the1940s, and chooses the Nanyang Writing of Five four group of writers that study abroad, Shanghai group of writers, Revolutionary group of writers and the modern writers’ travel stories about Nanyang as the main targets. The latter is more complex, it begins to become heavier and more profound from the subject and the theme, filling with touching and vehement, based on the overall analysis, the paper will analyse the contemporary Nanyang writing from the following three aspects:the Chinese Expeditionary Army, the traditional group of writers and diverse nanyang writings. The contemporary Nanyang writing makes a deep thinking about war, history, nation and modernity, and revolution begins to play a dominative part, among which consumer begins to be foregrounding.The introduction firstly sets forth the origin of the study, the object of study, the research status and approaches, then makes a comparative study of the modern Nanyang writing and western, Japanese writing of the same period. Compared to reason, humor, exoticism of the latter, the former is generally more negligent, the anxiety of Modernity of the intellectuals can be relieved.The first chapter mainly discusses the Five four group of writers who have studied abroad’Nanyang writing. The writing in this group contains imagination, enlightenment and national affairs, showing the complex mentality of intellectuals between tradition and modernity, revolution and enlightenment. Lao She’s Nanyang writing is on the back of Conrad’ Empire myth writing, the former implys the revolutionary metaphor, the utopian he builds implicit image of central plains state of mind significantly. Xu Zhimo makes Nanyang for sexual imagination, the imagination will be further developed in Shanghai group of writers. Yu Dafu’s Nanyang writing contains many thoughts of the motherland and hometown in the exile, and his classical poetry is also a reflection of the exiles.The second chapter mainly focuses on aspects of the romantic story, multi-dimensional performance of religious spirit, male discourse in Nanyang deserted wives, Nanyang landscape and Nanyang image to explore Xu Dishan’ Nanyang writing. Among Five four group of writers, Xu Dishan is one of the few writers that express the real love of Nanyang from cultural perspective, his Nanyang writing shows interest and feelings of traditional culture concerning the religious thought, the artistic image that he has made of possessing deep religious feeling and conveys special significance in the twentieth Century.The third chapter mainly discusses the Shanghai group of writers’Nanyang writing. Eileen Chang’Nanyang writing takes cultural imagination of’the other", for Xu Xu and Liu Naou, Nanyang is be sexualized, their writing shows the influence on the chinese modern writers’Nanyang writing that shaped and set by media. Overall, the group clearly has not reached the real Nanyang, their writing takes on a greater fantasy and imagination, and therefore is short of the social history consideration on Nanyang, the Nanyang that they display is only one-dimensional.The fourth chapter mainly discusses the modern writers’travel stories about Nanyang. For Liang Qichao, Fei er and Ba Jin, Nanyang is given a romantic imagination, which become a place where the modern intellectuals could live in solitude. They show the leisure of traditional travel literature and also be intoxicated on the landscape scenery, but they never give up thinking the modern rationality, Nanyang become the media that modern intellectuals could overstep their bounds temporary and turn life politics into emancipatory politics.The fifth chapter mainly assesses the Nanyang writing of revolutionary group of writers who roam or exile to Nanyang from the1920’s to the1940’s, then compares it with the Nanyang writing of Five four group of writers that study abroad, Shanghai group of writers, and the left-wing literature of China. The Revolutionary group of writers’Nanyang writing shows the features of social historical of Nanyang, and the ways of expression have changed, which from fabrication to writing realistically, but it still presents romantic imagination of revolutionary intellectuals. The group’writing highlights the theme of revolution and takes on a tragic atmosphere. Yang Sao’Nanyang writing is worried and indignant, from which we could sort out the clue of the history of his thought. The Nanyang writing is romantic and tragic and diverse among exile writers of Hong Lingfei, Shen Zljiu, Hu Yu zhi and Ba Ren. Western exile writers’writing think on freedom,power, tyranny and war deeply, which is transcendent, Chinese exile revolutionary writers are more concerned about their country and people, they pay more attention to the fate of the nation and show romantic imagination for the new china.Part one aims at inspecting modern writers’Nanyang writing from the view of culturology, grasping the essence of cultural psychology of intellectuals through the extraterritorial images of Nanyang texts, which partly reflects the reality of nanyang from the Nanyang image of modern writers, but to a certain extent, their writing also sends culture of the orthodox that they themselves represent. Compared with Nanyang writing of China and the West in modern times briefly, while the western intellectuals seize "different" in thinking about Nanyang or the east, modern Chinese writers are accustomed to using the "same"perspective, this is partly because the similarity that exist between Nanyang and China from a domestic culture, historical and social patterns, and it is also linked to the more closed structure of thinking in these intellectuals, which lead to the small-minded in these texts and show the lack of broad canvas.The sixth chapter mainly discusses the essential features of contemporary Nanyang writing and discoveries of three major groups, which are the Chinese Expeditionary Army, the original Kuomintang army and the educated youth of exiles. In the Nanyang Writing in the Chinese Literature Since the20th Century, it shows three major themes, which are enlightenment, revolution and consumption. Among them, revolution occupies the dominant, and Nanyang revolution is different from domestic revolution, its background color is a failure; it shows tragic, sublime and deep beauty; it resists to be forgotten, looks up to fathers, and carries forward the idealism and heroism in a secular age; and it has the significance of reflecting the war, politics, history, humanity. Since the late1980’s, contemporary Nanyang writing shows diverse characteristics, among which, the discourse of consumption begins to spread.The seventh chapter mainly sets out to clear the writing of Expeditionary Army in the twentieth Century basically, the writing has went through three stages, which are the battlefield reports, historical sources, historical reduction of documentary writing, literary imagination and fiction. Modern writing of Expeditionary Army has carried forward the national spirit, showing a tone of high-spirited and tragic, demonstrating individual care against the war, and taking on a deep sorrow of life. Therefore, it appears certain philosophical implication. The writing group of Southwest Associated University shows the political sentiments of intellectuals. Contemporary writing of Expeditionary Army has shaped the traditional military group, bringing a tragic text experience, under adorning of foreign elements, the writing or undertaking reflection on new national character, or expressing a theme of consumption. Modern writing of Expeditionary Army pays more attention to individuals, there is a simple beauty in language; contemporary writing of Expeditionary Army pays more attention to rational thinking, but it shows the lack of suffering consciousness. The writing of the80’s Expeditionary Army, taking Zhou Meisen, Zhang Tingzhu as the representative, reflects the consciousness of enlightenment of intellectuals, not only about mining the human nature, but also on promoting the traditional culture.The eighth chapter mainly discusses traditional group of writers’Nanyang writing. Among them, there are Chinese overseas that returned of Ling Nan group of writers(Huang Langhua, Chen canyun, Du Ai), Fujian group of writers(Si Mawensen, Yang Jinyuan), Chinese overseas that returned of Wang Xiaoping, and Miao writer Li Biyu, who devotes to showing the borderland, reflecting the exile of Nanyang, showing exotic exotic customs. This group generally employs the traditional realism and reviews the past years, and expresses the theme of "Returning" to the motherland, they are usually more familiar with the customs of Nanyang and their hometown, the writing convey a modern sense of home, carrying forward the spirit of patriotism and national emotion, and holding the traditional sense of "impending doom", and the modern spirit of reflection.The ninth chapter mainly analyses the diversification of contemporary Nanyang writing. It discusses the southern writing since the new period and explores the meaning in the history of literature and prospect of this writing, the southern writing has gone through humanity to the reflection of war-in-itself, but there aren’t enough convincing satisfactory works so far. Contemporary Nanyang writing conveys the theme of enlightenment and revolution and signals the idealistic banner. Chen He’s writing tries to find the historical memory; Wang Anyi demonstrates the evolution of Nanyang from truceless to peace with the overseas and conveys a profound expression in human nature; Deng Yiguang devotes ideal and reality into his hero Tian He and Tian Yang, narrating the different life of idealist in Post Revolutionary Era. Wang Anyi’s later writing reflects the diversity of social thought and literary thought, together with Zeng Yan’s the educated youth of daily life narration constitute the pursuit in life and politics in contemporary Nanyang writing.Part two concludes that, compared to the scholar-officials’romantic feelings in modern Nanyang writing, contemporary Nanyang writing pays more attention to the important propositions as to national destiny and survival of mankind.The last part is the conclusion. Overall, Nanyang Writing in the Chinese Literature Since the20th Century shows the discourse of spirit of youth, ideal, hero, revolution, drift, exile and so on, reveals romantic, legendary, tragic and heartily aesthetic style and shows the washback of the secular era.更多还原