【作者】 黄红春；

【导师】 颜敏；

【作者基本信息】 江西师范大学 ， 文艺学， 2013， 博士

【摘要】 新月派是中国现代文学史上一个重要的文学流派。在20世纪20年代中国现代知识分子思想分化的时候，它没有跟随主流文学转向为革命服务，而是继续坚持五四启蒙思想，追求思想独立和艺术本位，成为自由主义思潮裹挟下重要的文学社团。但在相当长一段时间里，新月派曾遭到歧视，被误读或被遮蔽。今日重新审视新月派，选取文学观念作为切入口，最主要的原因是在构成文学流派的诸要素中，文学观念是最核心的，它决定了一个文学流派的艺术风格和组织活动，更决定了对它的定性定位。但研究新月派文学观念的现实困境是显然的，因为新月派不是一个组织严密、活动紧凑、主张一致的流派，其文学观念既体现在繁杂异样的理论主张与文学批评中，也隐含在风格多变的创作实践乃至文学翻译中。如果只抓住其中某一层面来定位其文学观念，很可能得出完全不同的结论。这也是目前学界对其文学观念定性仍存争议的根本原因。因此，只有综合观照新月派的文学理论与实践，才可能合理定义其文学观念。新月派在理论与批评上，一方面以梁实秋为代表，主张文学表现人性，服从于规范和均衡的尺度，有明显的新古典主义倾向；另一方面以徐志摩为代表，主张文学表现灵感，书写生命和自然的美，具有典型的浪漫主义色彩。新月派在创作和翻译中，更有着“为艺术”和“为人生”的多种色调，从浪漫的自我写真到古典的形式美追求，再到现代的心理探幽，不同的诗学形态恰恰彰显了新月派“自由”的思想内核。在继承中外文学传统的基础上，新月派追求古今同梦、中西融合。所以，尽管它与左翼文学曾经发生交锋，但同样推动了新文学的现代化进程，有益于现代文学从他律走向自律。同时，透过新月派的文学观，我们还可以看到现代自由主义知识分子既有文化守成的民族意识，也有放眼世界的开放心怀。他们身上虽然有着理想与现实、传统与现代的矛盾纠结，但又不乏责任担当与包容稳健的人文精神，这对当下抵制物质主义和科技主义价值观，有不可忽视的启示作用。本论文主要站在跨文化的视角，综合运用文学、社会学和翻译学等多学科知识，分文体从不同的话语层面综合研究新月派的文学观念。具体内容为：第一章研究新月派生成的历史语境。新月派是中国近现代政治思想与文化艺术综合发展的结果。首先，晚清至五四的思想启蒙为它奠定了民主平等、民族爱国的思想基础。其次，自由主义思潮为它提供了个性自由、思想独立的精神范式。再次是新人文主义为新月派古典主义文学主张提供了理论资源。最后是中国文学的现代转型，为新月派将人生与艺术、启蒙与审美并举的文学追求夯实基础。本章主要表明：现代化诉求是新月派生成的内在动力，新月派文学是知识分子现代性焦虑的产物。第二章研究新月派文艺观念的发展脉络。新月派在不同的发展阶段有不同的文学主张与实践，体现出比较复杂的思想内涵。第一阶段是新月派身为清华学子的新月派成员，具有强烈的浪漫主义与民族主义思想，追求自由独立的、民族国家的文艺。第二阶段是创办《诗镌》和《剧刊》的时期，新月派主张接续古今、融合中西的文艺，尤其重视古典主义的诗学追求。第三阶段是创办新月书店和《新月》月刊时期，他们提倡“健康”与“尊严”的文艺，与左翼文学笔战，为人权和法治呐喊。第四阶段是创办《诗刊》和《学文》时期，他们要求回归艺术本体、思想醇正、风格多样，甚至转向现代主义。本章重在厘清新月派文学观念的变化历程，并对其起始阶段作了新的界定。第三章研究新月派基本文学观念。新月派没有贯穿始终、完全统一的文学主张，但不乏颇有影响力和代表性的文学观，它们包括：文学表现“普遍固定之人性”，理性是“最高的节制机关”，美是“美的灵魂”附丽于“美的形体”，“诗人总得有天才”，“人生与艺术相连”等。这些观点容纳了新月派对文学最基本的看法，即便有矛盾之处，也从另一层面体现了新月派兼容并包、稳健理性的文学观。第四章研究新月诗歌规范与自由的消长。新月诗派的出现成为中国新诗史上的一个重要转折点。为了纠正早期白话新诗过于散漫、诗味不足的弊病，新月诗派在借鉴西洋律体诗歌和中国古典诗歌艺术的基础上，提出了诗歌格律化主张和“理性节制情感”的美学原则，为白话诗歌建立了新的范式。但格律诗主张并非新月派诗学理念的全部。从早期对浪漫主义诗歌情有独钟到后期溢出格律的规范回归自由体，乃至其创作与理论出现偏差，无不证明新月诗学一直存在规范与自由的吊诡，此消彼长，互相更迭。只有让新诗成为“中西艺术结婚后产生的宁馨儿”,才是他们共同的、永恒不变的目标。本章主要探讨新月派中西诗艺融合观，新格律诗理论和疏离规范的审美超越。第五章研究新月散文的“性灵”追求与“自由”言说。新月派散文一方面以徐志摩、朱湘、储安平等为代表，重视性灵书写，歌咏生命和自然；另一方面以梁实秋、胡适、罗隆基等为代表，标举“人性”和“自由”、吁求法治和民主。其中，抒情散文具有晚明性灵文学和英美随笔的余韵，体现了中国传统名士文化和西方绅士文化的交融。论辩散文则继承了先秦诸子散文长于说理、纵横捭阖的传统，彰显了儒家文化滋养下的士大夫责任意识，和西方文化影响下公共知识分子的主体意识。尤其是“为人权”的政论散文和反对“阶级性”的文艺散文凸显了他们强烈的自由理念，为现代散文增添了“力与思”的另一种色调。本章先后论述信仰生命与自然的叙事抒情散文、任意而谈与笔战鲁迅的文艺散文、呼吁人权与法治的“论政风”。第六章研究新月戏剧与小说对古典主义的执守与超越。戏剧是新月派聚合的契机。本着复兴中华文化的初衷，新月派发动了国剧运动，逆潮流提出整理和发扬中国传统戏剧艺术，并在适当参考西洋剧的基础上，建构了现代戏剧的“写意说”、“程式说”和“综合艺术说”。新月派尤其推崇写意的艺术和纯粹的艺术，倡导新剧以艺术和趣味为旨归，戏剧家要让理智和情感、艺术良心和道德良心平衡发展，显示了古典主义美学追求。余上沅的理论、丁西林的创作均堪称典范。但新月戏剧也内存异调，徐志摩与陆小曼的唯美剧、陈楚淮的象征剧均显示了多元的美学追求。新月派小说在理论上没有系统的阐述，但有着不容忽视的创作实绩。沈从文、凌叔华等的独特贡献曾被遮蔽，或被误认为只属于京派。其实，他们首先是新月派，然后才是京派。新月小说重视人文关怀、追求温柔敦厚、和谐优美的审美与价值取向，也显示了古典而浪漫的美学品性，并直接影响京派小说。第七章研究唯美与实用并举的新月翻译。作为以英美留学生为主体的文学流派，新月派在翻译方面显示了特别的优势，翻译也成为其文学活动的一个不容忽视的部分。新月派的翻译理论和实践在相当程度上也体现了他们的文学观念。他们一方面强调翻译选材的艺术性和经典性，另一方面又注重科学性和实用性。他们重新诠释“信达雅”翻译标准，并补充了“人性”作为文学翻译的标杆；他们明确主张直译和意译相结合的翻译策略，反对“硬译”和曲译，并因为翻译理论再次与鲁迅短兵相接。新月派翻译不但为新文学提供了异质文本，而且促进了中外文学的互动，反映了一种“世界”的文学观。本章主要研究翻译诗学视域下新月派的理论与批评、新月派翻译实践中的文学观、新月派翻译与异质文化互动。结语主要重估新月派及其影响下的自由主义文学。显然，自由主义文学以人性为基石，以艺术为本位，自觉追求文学的审美现代性；同时，积极参与现代社会制度的建设，敢于质疑和反抗威权政治，显示了历史的进步性。但它以上层精英知识分子的“理”与“趣”为标尺，脱离底层民众的现实生活，忽略社会革命的现实诉求，并且始终处在浪漫精神追求与理性思想原则的矛盾纠葛中，也凸显了一定的历史局限性。反思新月派的现代性和人文精神，如果说，现代性是一个未完成的启蒙规划，那么研究新月派的意义就在于为当下的现代性建设提供理论启示。新月派尊重生命和张扬人性，主张人与人、人与自然保持和谐关系的人文思想，对民族的、世界的文化持建构性认同的思想，依然具有普适性。总之，新月派文学在为人生与为艺术之间，以自由主义为精魂，集古典、浪漫与现代于一体，构成现代文学的独特景观。更多还原

【Abstract】 The Crescent School is one of the most important literary genres in the history ofmodern Chinese literature. In1920s when Chinese modern intellectuals’ thoughtsdifferentiated, it didn’t follow the mainstream literature to serve the revolution, butcontinued to adhere to May4th enlightenment, and seeked for independent thoughtand artistic standard, thus making itself one of the coerced liberalism literature underthe group. But in quite a long period of time, the Crescent School had been subjectedto discrimination, misunderstood or even shaded. The present reexamination of theCresent School starts from literary notion, the essence of literary genre, which decideson a literary genre’s art style, activities, and even its characters. It is evidentlydifficult to study the literary concept of the Crescent School, because the School is notwell-organized, compact and identical. Its literary thoughts are not only reflected inthe complicated theory and criticism, but also hidden in the changing writing practiceand literary translation. It will lead to a completely different conclusion if we onlytake one of its aspects in locating its literature concept. This is the fundamental reasonwhich caused controversy on the literary concept. Therefore, the literary thoughts canbe reasonably defined only by a comprehensive viewing on its literary theory andpractice.In theory and criticism, on the one hand, represented by Liang Shi-qiu, theCrescent School advocated the manifestation of human nature, subjecting to thediscipline and balanced scale which obviously has neoclassicism; On the other hand,represented by Xu Zhi-mo, the Crescent School advocated the manifestation ofinspiration, writing life and natural beauty, which has typical romantic color. Inwriting and translation, the Crescent School advocated working for art and life, whichmakes it have a variety of colors. From the pursuit of romantic self portrait to theclassical formal beauty, even the modern psychological adventure, different poeticsshow the essential idea of "freedom". On the basis of inheriting the tradition ofChinese and foreign literature, the Crescent School pursues the dream of ancient andmodern, the fusion of Chinese and western. Therefore, although it debated with theLeft-wing Literature, it also promoted the modernization of new literature, making itfrom heteronomy to self-discipline. At the same time, through the Crescent School’sliterary concept, we can see conservative national consciousness and the world visionof modern liberalism intellectuals. Although they have the conflicts between ideal and reality, traditional and modern, they don’t lack of responsibility, tolerance and robust.The humanistic spirit can not be ignored because it can be used to resist materialismand scientism value.This paper studies the Crescent School’s literary concept mainly from thecross-cultural perspective, by the integrated use of literature, sociology and translationstudies, etc. and from the different level of discourse in every style. In particular to:Chapter One studies the historical context of the Crescent School. The CrescentSchool was the result of a comprehensive development of modern Chinese politicalthought, culture and art. Firstly, enlightenment from the late Qing Dynasty to May4thlaid the ideological foundation of democracy and equality, nationalism and patriotism.Secondly, liberalism provided it with individual freedom of thought and independentspirit paradigm. Thirdly, the new humanism provided theoretical resources for its newclassicism literature. Finally, the modern transformation of Chinese literature laid asolid foundation for its literature pursuit for life and art, aesthetic and enlightenment.This chapter mainly reveals that the modern appeal is the inherent power of theCrescent School’s formation, and the Crescent School literature is a product ofintellectuals’ modernity anxiety.Chapter Two studies development of the Crescent School’s literary concept. Indifferent stages of its development, the Crescent School had different theory andpractice, which reflects the complex ideas. In the first stage, as Tsinghua students,they pursued freedom and independence, national literature, which reflect strongromanticism and nationalism thought. In the second stage, they published Poetry andPlay, advocating the fusion of ancient and modern, Chinese and Western literature,especially the classical poetics. In the third stage, they founded the CrescentBookstore and New Moon issue to promote "healthy" and "dignity" literature. Theydebated with the Left-wing writers, and cried for human rights and the rule of law. Inthe fourth stage, they founded Poetry and Learning to demand a return to art itself,ideological and mellow, style diversity, even modern literature. This chapter focuseson clarifying the changing process of the Crescent School’s literary concept, and givesa redefinition of its initial stage.Chapter Three studies the Crescent School’s basic literary conceptions. TheCrescent School hasn’t throughout and completely unified literary ideas, but hasinfluence and representative literature view. They include： Literature reflects"universal human nature". Reason is "the highest control authority". Beauty is"beautiful soul" belongs to "beauty of body".“A poet must be a genius"."Life connects with art", etc. These views accommodate the Crescent School’s the mostbasic view about literature. Even if they are conflicting, it indicates that the CrescentSchool absorbs anything and everything, forming robustly rational literary thoughts atanother level.Chapter Four studies the Crescent School poetry’s discipline and freedom whichare in rebellion. The Crescent School poetry has become an important turning point inthe history of Chinese poetry. In order to correct defects of early vernacular poetrywhich is too lax and whose poetic flavour is insufficient. On the basis of western lawpoetry and Chinese classical poetry, the Crescent School poetry put forward poetrypropositions and "rational emotion" aesthetic principles, forming a new paradigm forthe vernacular poetry. But the metrical poetry advocation is not all the ideas of theCrescent School poetry. From early having a special liking for romantic poetry to lateoverflowing metrical standard and returning to the free body, even the deviation ofwriting and theory, all prove that there is a contradiction between the CrescentSchool’s discipline and freedom. Only let the new poetry become "a combinationproduct of Chinese and Western art" is their common and eternal goal. This chaptermainly discusses its Chinese and Western art fusion concept, new metrical poetrytheory, and aesthetic transcendence alienating the principles.Chapter Five studies the Crescent School prose in pursuit of "soul" and"freedom". On the one hand, represented by Xu Zhi-mo, Zhu Xiang and Chu An-ping,the Crescent School prose pays attention to spiritual life and nature. On the other hand,represented by Liang Shi-qiu, Hu Shi, Luo Long-ji, etc, the Crescent School prosecalls for "human nature" and "freedom", the rule of law and democracy. Among them,lyrical prose inherits the literary essays in late Ming Dynasty and English essays,which Embodies the blending of traditional Chinese literati culture and westerngentleman culture. Argumentative prose has inherited the pre-Qin philosophers’ prosethat is good at reasoning, which shows the responsibility of Confucian intellectuals,and the subjective consciousness of public intellectuals influenced by Western culture.Especially the political prose calling for "human rights" and the literary proseopposing the "class" highlights the strong idea of freedom, which adds to modernprose another color of "force and thought". This chapter discusses narrative and lyricprose which believe in life and nature, literary prose which talks freely and debateswith Lu Xun,“comment row on politics” which called for human rights and the ruleof law in turn. Chapter Six studies persistence and transcendence of classicalism of the CrescentSchool drama and novel. Drama is a polymerization opportunity of the CrescentSchool. For the Chinese cultural renaissance, the Crescent School launched theChinese drama movement. Going against the tide, they proposed to organize anddevelop Chinese traditional drama art. And based on the appropriate reference ofwestern drama, they put forward the modern drama "freehand theory","program" and"comprehensive art" theory. They especially advocated freehand brushwork art andpure art, advocating that new drama should aim at art and interest, and dramatistsshould balance the development of reason and emotion, artistic conscience and moralconscience, which displays the classical aesthetic pursuit. Yu Shang-yuan’s theory andDing Xi-lin’s drama are examples. But there are also different views in the CrescentSchool. Xu Zhi-mo and Lu Xiao-man’s aesthetic drama, Chen Chu-huai’s symbolizeddrama showed varied aesthetic pursuit. The Crescent School has no systematic theoryabout novels, but their writing achievements can not be ignored. The uniquecontribution of Shen Cong-wen and Ling Shu-hua had been obscured, or mistakenlybelieved to belong to the Beijing School literature. In fact, they first belong to theCrescent School, then the Beijing School. The Crescent School novels’ aestheticpursuit and value orientation of humanistic care, placid, harmonious and graceful, alsoshow the classical and romantic aesthetic quality, and directly influence the BeijingSchool novels.Chapter Seven studies both aesthetic and practical translation poetics. As aliterary school that mainly consists of the British and American student, the CrescentSchool shows special advantage in translation. Translation has become a considerablepart of its literature activities. Their translation theory and practice also reflect theirliterary concept to a certain extent. On the one hand, they emphasized artical andclassical translation material. On the other hand, they paid attention to scientific andpractical material. They reinterpreted translation principle of "faithfulness,expressiveness and elegance", and supplemented the "human nature" as a literarytranslation standard. They clearly advocated the combination of literal translation andfree translation，objecting to the "hard translation" and the distorted translation, andarguing again with Lu Xun on translation theory. Through the translation, theCrescent School not only provides the new heterogeneous text, but also promotes theinteraction of Chinese and foreign literature, which uncovers a kind of "world"literature view. This chapter mainly studies the Crescent School’s theory and criticismfrom the perspective of translation poetics, view of literature in translation practice,and interaction of translation and heterogeneous culture. The conclusion part mainly reassesses the Crescent School and its influence onthe liberalism literature. Obviously, liberalism literature pursues spontaneouslyaesthetic modernity of literature based on human nature and art standard. At the sametime, it actively participates in the construction of modern social system, daring tochallenge and revolt against the authoritarian politics, which shows the progress ofhistory. But it takes elite intellectuals’"reason" and "interest" as the ruler, far from thereal life of ordinary people, ignoring the realistic demand of the social revolution, andalways in the conflict of the romantic spirit and rational principle, which alsohighlights some limitations of history. To reflect the Crescent School’s modernity andhumanism, if modernity was an unfinished enlightenment planning, the significanceof studying the Crescent School lies in providing theoretical enlightenment fornowaday modern construction. Its humanism of respecting for life, displaying humannature, advocating people, people and nature to maintain a harmonious relationship, iswidely applicable. So does the constructive identity about national and world culture.In short, the Crescent School literature whose spirit is based on liberalism works forlife and art, sets the classicism, romanticism and modernism together, and constitutesa unique scene of modern literature.更多还原