发现与重读-20世纪80年代“被遮蔽”历史小说研究

【作者】 宋嵩；

【导师】 吴义勤；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2014， 博士

【摘要】 20世纪80年代（以下简称“80年代”）被普遍认为是中国当代文学的“黄金时代”，在这一时期，涌现出了大量的历史小说。与此前的“十七年”时期和“文革”时期的历史小说创作状况相比较，80年代的历史小说无论是数量还是质量都有了巨大的飞跃，堪称继“五四”时期以后又一个历史文学创作高峰。这一时期的历史小说继承了中国几千年来的述史传统，从巨大的历史著作宝库中拣选题材，加以具有现代意识的审视与思考；又借鉴了将20世纪末期中国知识分子的诸多意识，如对历史与现实关系思考、作家的知识分子主体性、对所谓“历史真实”与“艺术真实”的考量等，尤其是受80年代时代语境的影响，作家们将当时流行的“现代性”问题和对“民族国家的想象”投射到历史小说的创作中，使古老的“历史”和“历史小说”这一文体形态呈现出崭新的风貌。本文拟采用近年来在“80年代文学”研究领域中颇具成效的“重返八十年代”的研究范式，对80年代历史小说创作与接受进行考察。具体研究方式是，选择几位在80年代历史小说创作中具有独特风貌、但却被日后的读者和文学史所“遮蔽”的作家及其作品，详细考察他们在时代变迁中体现出的创作流变，并力争从他们的创作中看出作家个人与时代“主流”之间的“共名”和“张力”。绪论部分主要是对中国历史小说从诞生到20世纪中期“十七年”时期的发展状况做出一个简要概括；继而简介80年代历史小说创作的整体情况，以及学术界对这一问题的研究状况；最后着重分析、总结“重返八十年代”这一研究范式的演变、特征和具体方法，指出其对于“80年代文学”（包括历史小说）研究的意义和价值。第一章以萧军创作于50年代却出版于80年代初的《吴越春秋史话》为主要考察对象，指出这部作品是作者在经历了十几年心灵折磨之后的寄托之作。萧军长期以“鲁迅精神”为指导，大力发扬知识分子主体性，坚持艺术的自由与独立性以及由此衍伸的作家（“人”）的自由和独立，积极参与革命文艺活动，但他的思想同党的指导思想之间存在巨大分歧，因此在四、五十年代屡遭批判。他将心中的不平之气投入到《史话》的写作中去，借两千多年前古人的遭遇和心理反映自己长期以来对人与人之间关系的思索，发出了对“真诚”、“信任”的呼唤。但由于作者此时“历史工作者”的职业身份，以及力争使作品获得出版的考虑，他选择了一种与传统小说形态差别较大、而更接近通俗历史读物的文体形态来创作该书，使《史话》呈现出一种奇特的面貌。同时，《史话》在体现知识分子主体性这一方面与陈翔鹤等人在60年代初期的历史小说创作发生了共鸣，而与同类题材的《胆剑篇》等历史剧作相比则迥然有别。无论是在创作的年代，还是在出版的年代，《史话》都在某一方面与时代格格不入，故而成为新中国历史小说创作中的一个“异类”、“奇葩”。第二章以杨沫后期创作作为80年代“革命历史小说”创作的代表与缩影。通过对杨沫后期三部长篇小说创作动机、创作过程和作品文本的分析，得出如下结论：杨沫是中国当代文学史上“心理型”作家的典型，他们的创作受个人心理波动的影响特别明显，常常将个人心理的变化自觉或不自觉地反映在作品中。而随着年龄的增大，各种因素在其创作过程中的掣肘现象越来越明显，更使其无法将全部精力投入小说创作中去，因而其后期的小说创作成就，远远比不上《青春之歌》。由于“十七年”时期的“革命历史小说”已经将此类型作品的创作可能开掘、发挥到了极致，虽对后人的创作提供了丰富的经验，但也使创作难以创新。杨沫后期小说中的有限尝试很难与“新时期”小说领域内的其他成绩相提并论。再加上读者接受兴趣上的新变化，种种迹象都表明“革命历史小说”的创作进入了窘境，如不加以改革，必然难以为继。第三章选择作家和社会活动家冯骥才的历史小说创作作为考察对象。他以长篇历史小说《义和拳》登上文坛，此后又兼及历史小说、伤痕小说、文化反思小说等题材领域。在历史小说创作方面，继《义和拳》之后又创作了《神灯前传》和包括《神鞭》《三寸金莲》《阴阳八卦》在内的“怪事奇谈”系列小说。《义和拳》受“文革”主流文艺路线的影响，属于“文革”时期主流的“主题先行”式的小说，不仅艺术水平不高，且体现出一种借义和团“历史”反映“革命历史”的动机，是一部披着“近代史”外衣的“革命历史小说”。《神灯前传》因作者的兴趣转向而成为“未完成”形态的小说，但该书中体现出的作者在创作风格、技法上的重大转变，在“怪事奇谈”小说中最终完成。冯骥才深刻反思中国传统文化的弊端，以小说形式对其进行展示与反思、批判。但由于表现方式上的特别，以及在对待传统文化的立场上存在差异，引起了很大争议。但如果用他在文化遗产抢救保护工作中形成的文化理论回望这些作品，便可以理解他的创作初衷。第四章选择对姚雪垠《李自成》后三卷进行重读，出发点是针对《李自成》创作与评价上明显存在的“断裂”现象。姚雪垠在80年代初出版了《李自成》第三卷后，由于身体健康状况不佳、创造力衰退、卷入论争牵扯太多精力等种种原因，小说后两卷迟迟不能定稿，在创作和出版周期上“无限期延宕”，影响了读者和评论界的热情。最终得以出版的第四、五卷也只是呈“初稿”“草稿”状态。同时，由于文坛主流思想倾向的转移，小说前两卷中的缺陷在此时被过度凸显、放大，对作品艺术成就的评价持续走低。经历了“《评<甲申三百年祭>》风波”和“姚刘之争”，姚雪垠开始对自己在人物形象塑造上的初衷进行有限地修正，在小说后三卷中，李自成、李岩、刘宗敏等形象与前两卷相比发生了很大变化，但在此过程中作者又畏首畏尾，从而导致人物形象的断裂和矛盾；在对待少数民族先进人物的态度上，又犯了“主题先行”的老毛病，不切实际地试图将其塑造成“改革者”，以致呈现出人物形象与构思严重不符的情况。种种原因导致小说后三卷逐渐沦入平庸，甚至成为作者创作生涯上的“污点”。结论部分，重点指出论文所涉及的四位作家的历史小说创作都存在有不同程度的“被遮蔽”“被忽略”“被遗忘”现象。究其原因，是因为这些作家在80年代初的历史小说创作中未能彻底解放思想，没有摆脱建国后三十年文艺创作上的不良倾向；面对后起之秀的挑战，有的作家主动求变，转移创作方向和风格，在艺术上获得了新生；但也有一些作家仍然不能完全摆脱不良影响，反而寄希望于有限度地“配合”时代语境和文坛风向的转变，对原有的创作思路加以修正，最终导致创作上的失败，这一教训值得当下的历史文学作者深思。更多还原

【Abstract】 The1980s is generally considered as the “Golden Age” of contemporary Chinese literature,and during this period, a large number of historical novels were emerged. Compare with thecreation of historical novel in the “Seventeen Years” period and the “Cultural Revolution” period,it is a great leap forward both in quantity and quality, and it was rated as another summit of thecreation of historical literature after the “May4th Movement” period. The historical novels ofthis period inherited the tradition of historical narration during thousands of years in Chinesehistory. The themes were selected from the history books, and they were reviewed and cogitatedwith modern consciousness. Some consciousnesses of the Chinese intellectuals in the end of thetwentieth Century were referenced, such as the relationship between the history and the reality,the subjectivity of the writers as intellectuals, and the consideration of “historic reality” and“artistic reality”. Especially influenced by the context of the1980’s,“Modernity” and “nationalimagination” were included in the historical novel creations by the writers, and new featureswere showed at the same time.In this thesis,“Back to the1980s”(also called “Return to the1980s”), a productiveparadigm in the research field of the1980’s Chinese literature was used, and the purpose was toresearch and inspect the creation and acceptance of the1980’s historical novels. The specificresearch method is to select several writers and their works which have a unique style ofhistorical novels but were neglected by the readers, the researchers and the history of literature,make a detailed study of the development of historical novel creation, and strive to embody the“synchronicity” and “tension” between the writers and the main trend of the times.Introduction of this thesis mainly summarized a brief synopsis of the development ofChinese historical novels from the origin to the mid twentieth Century (the “Seventeen Years”period), then introduced the creation of historical novels in the1980s briefly, and summarizedthe research status. At last,“Back to the1980s” paradigm (also called “Return to the1980s”paradigm) was analyzed, especially the development, feature and the specific method of theparadigm. The thesis pointed out that it was very meaningful to use this paradigm in the search of the1980’s Chinese literature, including the historical novels.The first chapter chose the writer Xiao Jun and his novel “A Historiette of Wu and Yue”, ahistorical novel written in the1950s but published in the early1980s as the main study object.This novel was written after a long time of soul torture. The writer saw “the spirit of Lu Xun” ashis guiding ideology, strove to encourage the subjectivity of intellectuals, insisted on the freedomand independence of art, persisted in the freedom and independence of the writers. Although heparticipated in activities of revolutionary art and literature actively, but there was a greatdivergence between the guiding ideology of the CCP and the writer, so he was criticizedfrequently in the1940s and the1950s. He was not convinced, and created the novel. In the novel,he told the stories of the ancients two thousands ago, described the experiences and soul torturesof the ancients, and the conclusion of interpersonal relationship was including. At that time, XiaoJun was not a writer but a “historist”, for the purpose of publishing, he chose a strange form totell the stories, not as a novel, but not as a treatise either. It was a “popular history book”. Therewas a similar standpoint as the writer Chen Xianghe and his historical fictions in the early1960s,it was to stress the subjectivity of intellectuals. And it was very different from the popularhistorical dramas such as “Gallbladder and Sword” by Cao Yu, which was similar in the theme. Itwas a contemporaneous misfit, whether in the period of composition or in the period ofpublishment. The novel was regarded as an offbeat work or an exception.The second chapter chose the woman writer Yang Mo and her late creations (“OrientalDawn”,“Song of Fragrant Flowers”, and “Song of Beautiful Flowers”) as representative worksof “the Revolutionary Historical Novels” in the1980s. Based on the analysis on the creativemotivation and process, especially the textual analysis, the thesis concluded that Yang Mo is atypical example of the writers who belongs to the emotional pattern in the history ofcontemporary Chinese literature. Their creative processes were influenced by the waves ofemotion and psychology evidently, and they always put their emotive waves into their worksconsciously or unconsciously. With the increase of age, the influences by various factors weremore and more obvious, and they could not devote all their energies into the creative process. Soher last three novels were not as successful and acceptive as the famous novel “Song of Youth”.In the “Seventeen Years” period, the “Revolutionary Historical Novels” were excessivelyprosperous, and almost all the creative ideas, forms and skills were used up. Although the creation of this period provided abundant experiences to the posterity, innovation was verydifficult to make. The limited trial by Yang Mo could not make her success. On the other hand,the interests of the readers in the1980s were changed greatly. All the signs showed that thecreation of historical novel needed reforming imminently.The second chapter chose the writer and social activist Feng Jicai’s historical novel creationas the object of study. He began his literary creation with a historical novel “Boxer”, thendabbled in many theme fields such as historical novels,“trauma fictions” and reflection novels.After the novel “Boxer”, He wrote “A Prequel of the Red Lantern” and the series “StrangeAdventures”, including “The Magical Braid as A Whip”,“Lotus Feet, or Three Inch Feet” and“Yin and Yang”.“Boxer” was heavily influenced by the guiding ideology of the “CulturalRevolution”, the subject restricted the story, and that was the localization of the novel, and it wasat a low artistic level. The novel showed the history of “the Boxer Movement” to the readers, butthe writer’s starting point was to show the history of Chinese revolution several years later.“Boxer” was belong to “the Revolutionary Historical Novels” as Yang Mo’s “Song of Youth”.Because of the change of interest of Feng,“A Prequel of the Red Lantern” was unfinished, butsome new and significant reformations in writing style and technique of literary creation wereshowed in this novel, and the innovation was completed at last in the series “StrangeAdventures”. Feng Jicai introspected the disadvantages of traditional Chinese culture profoundly.He showed the disadvantages in his historical novels, and there were many reflections andcriticisms. However, due to the special way of expression, as well as differences in the treatmentof traditional culture standpoint, Feng Jicai’s historical novels caused great controversy. But ifwe could understand Fang’s theory of culture which was founded during the process ofprotecting the cultural heritage gradually, we can understand his creative mind better.The fourth chapter planed to reread the last three volumes of Yao Xueyin’ s monumentalwork “Li Zicheng”, and give a new interpret of the historical novel. There was an obvious gapbetween the creation and criticism of “Li Zicheng”. After the publishment of the third volume ofthe novel in the early1980s, Yao Xueyin’ s health condition turned worse, his creativity declined,and his attention was distracted by some arguments. The last two volumes of the novel could notbe finished in time, and it postponed the publishment. The enthusiasm of the readers and thecritics was dissipated. When the last two volumes were published, they were still first drafts. Meanwhile, as the guiding ideology of literary creation changed, the defects in the first twovolumes were overstated, and the evaluation of the artistic value was worse and worse. After theargument about Guo Moruo’ s “In Memory of1644” and the argument with Liu Zaifu, the writerbegan his reformation limitedly. In the last three volumes, the characters Li Zicheng, Li yan andLiu Zongmin were different from the first two volumes, they changed obviously. But somelimitations in the writer’ s mind made him overcautious, and there were many contradictions inthe novel. The writer’s attitude toward the leaders of the minorities was contradictory, too.Because the subject restricted the story, the writer wanted to build some images of reformers, butthere were too much shortcomings on these leaders. The facts of the images doesn’t square withthe original conception. A variety of reasons made the last three volumes of “Li Zicheng” onlymediocre.In the conclusion, the thesis point out that there are different levels of neglection and“forgotten” phenomenon of the four writers and their historical novels. The reason is that whetthese writers created historical novel in the early1980s, they could not emancipating the mindradically, could not extricate themselves from the harmful tendencies of creation during the thirtyyears after the founding of the PRC. In the face of challenges from the newcomers, some writerschanged actively. They transferred their direction of creation and style, and made newachievements. But there were also some writers still couldn’t get rid of bad influence completely.They only hoped to adapt the change of context of times and literary creation limitedly, andmodified the original conception, eventually led to the failure. It was worth pondering by thecurrent history novel writers.更多还原