【作者】 崔春；

【导师】 黄万华；

【作者基本信息】 山东大学 ， 中国现当代文学， 2014， 博士

【摘要】 本文的研究对象是北岛、《今天》及其见证下的一段汉语文学史。以北岛的风格流变为主线,以《今天》杂志的回旋起落为副线——将个人与群体的创作活动互引为鉴——勾勒一位诗人、一个流派及其带动下的文学变革的一段生动而曲折的发展历程。语言的演进与社会的转型在过去四十年间是交相映照的：一代又一代的写者集结于“今天”的旗下,从创刊到复刊,历经诗的“崛起”与词的“流散”,三十年如一日地持续下去,其对文学独立品质的坚守和重建经典的野心又是一以贯之的。之所以确定这个选题,是因为《今天》实为中国当代文学研究绕不过去的一个存在。无论是六、七十年代的“潜在写作”、八十年代的“新诗潮”,还是九十年代以后的海外汉语文学创作,都与《今天》有着千丝万缕的关联。梳理《今天》的发展轨迹有助于去蔽溯源,揭示现代汉语在与世界文学或亲或疏、若隐若现的沟通之中艰难生长的生命进程。特别是在当今这个汹涌而来的全球化时代,语种日益取代国籍成为一位作家的身份标识,拓展中国文学史为汉语文学史也就成为文学史书写的多元趋势之一。本文有意来做一次小规模的开创性尝试。鉴于《今天》文本的浩繁芜杂,本文主要考察北岛——《今天》至始至终的主编及灵魂人物在过去四十年间的文学创作,并辅之以同人色彩较为鲜明的《今天》的部分诗作,同时关注散文、小说等其他文体的突出成就。同以往的研究相比,“越界”与“整合”的思路是本文的新意所在,即超越时问、地域、文化、媒介等的界限,将北岛及《今天》从七十年代至今的语言冒险放置于世界文学的精神谱系及全球文化的“流散”(diaspora)语境中予以考察,再以文学价值为共同点“整合”其文学资源。本文力图突破以大陆为中心的视野局限,广泛搜阅国内及海外《今天》百期杂志、北岛的全部版本的作品、相关的中文、英文及德文评论,并首次披露一些调查访谈资料,努力做到学术无国界,为今后学者的深入剖析和多元阐释奠定较为坚实的基础。跨国比较和新老对照也使得北岛及《今天》研究获得前所未有的向度拓展,这也有助于揭示《今天》同仁在糅合中西语言优势、古今美学经典方面所做出的先锋性探索。文本的汇集同时凸显了以往被诗歌光环掩盖的《今天》其它领域——如散文、小说等文学门类的成就。此外,系统性地辨析和清理一些历史歧义与模糊地带可以引发我们对既有定论的新的思考：如通过考察“朦胧诗”的来源去脉、其代表作品与《今天》诗歌的关系,以及这一称谓形成时的特殊的社会环境和时代氛围,不难看出历史概念的约定俗成有着很大的将错就错的成分；通过比较细读也可以得出《今天》小说在思想性及艺术性上明显优于“伤痕文学”的判断,从而质疑其作为“新时期”文学开端的合理性。对北岛早期诗歌如《结局或开始》的创作背景也有新的发现。以下是全文的整体架构：绪论部分简要勾勒了北岛及《今天》三十多年来文学流变的基本脉络,指出选题的价值和意义,考察现有成果及其局限性,阐发自己的研究路径及方法。正文共分上下两编各四章。上编诗的“崛起”(第一到第四章)为国内部分；下编词的“流散”(第五到第八章)为海外部分。第一章追溯北岛的成长和“今天派”的前史。从《今天》首发的《结局或开始》一诗中展露的疑点入手进行文献爬梳和史实钩沉,还原历史现场,指出“文革”爆发时北岛在北京四中的那段经历对他后来写诗及创办《今天》产生的影响。与此同时,北岛与四中同学的友谊也拓展到了“白洋淀诗群”的地下文学圈子。“白洋淀诗群”相对于后来的“今天派”有一种前史的关系,其代表性成员早在插队落户之前就已受到西方现代艺术的浸染,并从“文革”中后期的“皮书”风潮中领略了精神上的早春。根子、多多、芒克等“知青”通过语言的创造性运用反抗现实、与世界为敌；在“魔鬼化”和“逆崇高”的过程中颠覆文革语体、呼唤“新语言”,再经由北岛、芒克等人创立的《今天》杂志进入公众视野。第二章主要阐明“朦胧诗”与“今天派”历史命名的夹缠之处。北岛、芒克以及“白洋淀诗群”其他成员在“文革”时期的部分“潜在写作”经民刊《今天》涌流而出,其“震惊效应”更是透过主流媒体的放大而引发了八十年代的一场轰轰烈烈的“崛起”之争。这场并非纯文学性的论争给这类新诗留下了一个其后被广为人知的名称：“朦胧诗”。但“朦胧”称谓本身就是一个混淆视听的含混指涉,遮蔽了新诗形成的历史细节和精神特质,并在后期演变成为一个笼罩一切的口袋——因为“朦胧”本是现代诗歌的总体特质,而它所特指的那一类历史上的新诗曾经作为一种语言叛逆的形式,以其个人的、曲折的美文特质反抗宏大的、直白的朗诵语体,其文脉上可追溯到“今天派”及前驱“白洋淀诗群”,下可延伸至“先锋派”和“新生代”,其美学属性和艺术风格到八十年代中期也趋于丰富和多重向度。第三章评析《今天》的小说成就。与同时代的“伤痕文学”相比,《今天》小说呈现出思想及艺术上的早熟特质：他们召唤“自我”、反抗专制、勇于承担焦虑和绝望,重新发现人的价值和人的尊严；在语言及形式探索方面也有自觉的尝试。《今天》作家群中北岛、万之、史铁生等人的小说创作在内容和技巧方面各有所长,如北岛透过冲突凸显人的自然性与社会性的矛盾；万之凭借细腻的心理分析揭示人与世界的微妙的关系；史铁生则以爱的名义回归生命本真的人文关怀。但就哲学根本而言,《今天》小说渗透着存在主义思潮的影响,敢于直面现实的荒谬、人生的孤独和生活的苦难,绝不阿其所好粉饰太平,为文革后中国文学走下神坛重返人间迈出了先行的一步。第四章讨论由《今天》开启的北岛的文学转折。以文本细读和比较细读的方法评述北岛自1979至1986年间的主要诗作,并参照他在相应阶段的个人经历和社会活动,勾勒其风格演绎的大致曲线,指出情诗创作是他1979-1980年间一直被人所忽视的主要调式,认为从《界限》(1980)写作开始,其现代诗风愈显稳健。对语言本体的沉浸及对写作本身的觉悟,主导了八十年代中期以后的北岛诗艺的变化。同时北岛不仅仅是一个诗人,还是一位译者,不仅通过翻译磨砺他的诗传导利器,还借鉴早年的翻译文体来拓展汉语表达的疆域。通过具体的文本对照辨析陈敬容译的波德莱尔、戴望舒译的洛尔迦、叶维廉译的帕斯,以及北岛自己译的特朗斯特罗姆与北岛作品之间的互文关系,探讨在当代语境中,翻译文学对于促进语言的演进、糅合传统与现代、调解民族性与世界性的复杂矛盾所扮演的角色。下面进入到下编词的“流散”。第五章回顾全球“流散文学”的历史背景,指出20世纪的“流散”是一个语言事件,诗人的“流散”即词的“流散”,场域也不仅限于国外。由于共同呈现的“先锋”特质,八十年代被划分的“朦胧诗人”与“后朦胧诗人”貌似“断裂”的关系到了八十年代末实为殊途同归,1990年海外复刊的《今天》成为合流之后的“先锋诗”的发表阵地。两代人都以同样的写者姿态将语言作为终极现实,这也符合汉语文学变革的内在生成逻辑。此外,“流散”语境也使得去国诗人获得了一种反观中西的双重视野和“对位”思考的能力,并在文化差异的设身比较中,产生一种相应的采撷各国之长,同时与传统衔接的内在需要的觉醒。第六章简述由宇文所安的一篇北岛书评引发的世界华语文学圈围绕新诗的民族性与世界性问题所展开的一场大辩论,追踪北岛及其他“今天派”的新诗写作与传统诗学的纵向关联,特别是到九十年代以后,从身体到精神的“流散”使其获得一种对传统的再认识和再思考,摆脱现实因素的负面制约而从边缘出发,到世界文学的海洋中找回自己民族传统的文化记忆。通过细读北岛九十年代的诗歌文本,指出其中的玄思妙想与《庄子·齐物论》存在的相通之处。第七章探讨北岛的散文艺术成就,将其散文分为三类：漂泊路上的随笔、早年生活的追忆、介于诗歌传记和学术漫谈之间的翻译品鉴。其中又以第一类最为庞杂,可细分为“天涯记人”；“闲情记趣”；“浪游记历”；“旅途记囧”。不难看出,生命形态的“流散”与形而上学的“流散”在北岛九十年代以后的文学探索中互为表里,并且汇入到二十世纪流散美学的传统中去。其散文正是落到纸面上的环球漂泊的印迹,不仅与地理意义上的步履书写构成互文关系,也为其诗歌解读提供了线索。也正是“漂泊流散”、“去革命话语”、“世界诗歌”,成就了北岛散文艺术的古渡沉钟。第八章回到《今天》,介绍这份跨地域的汉语文学先锋杂志对中国文学史的重述所产生的广泛而深远的影响。例如《今天》接过被迫在内地中断的“重写文学史”的接力棒,在文学的地平线上另辟史学经纬,坚持了十年之久,并最终回到内地出版发行；由“今天旧话”栏目编选而成的《持灯的使者》从某种意义上来说,对于二十世纪中国文学史的贡献并非简单的原始文献的增补和完善,而是转换视角,在历史叙事上另辟蹊径,迫使我们放弃对一段历史理解的一贯的假设和前提；《七十年代》旨在从经验层面去直面过去,接受历史记忆的挑战,从而思考“人”的变化,重新认识“人”的含义,分析文化变革的源头和流向；《暴风雨的记忆》——北京四中“老三届”学生关于一段特殊历史时期的回忆性文字的结集从不同的角度和立场,记述了这场暴风雨中的个人经历。由此,“结局”又回到了“开始”,正文结束。结语部分在总结全文的基础上反思我们的文学史观和文学精神,提出文学史写作的另一种可能。如果说,以往的历史叙述往往与权力意志有关,将一位作家和一份刊物的命运与一段走过、路过、看过的文学史直接建立连接的做法,则好比打开了一扇观察人文风景的意外之窗,补足了传统文学史所缺失的个人化和细节化的生动呈现,并令文学精神最终落实到一个大写的“人”上。更多还原

【Abstract】 This dissertation intends to explore Bei Dao, Today magazine and a period of Chinese literature history they witnessed. Based on changes in Bei Dao’s works as major thread and the rise and fall of Today Magazine as sub thread, it combines personal and group creation activities together and sketches a vivid as well as torturous development route of literature revolution that was brought by a poet and a school. Evolution of language and transition of society have been the mirror image of one another for the past40years:one generation after another of poets unites under the flag of Today, from its birth to re-publication, experiencing the rise of poetry and the diaspora of words, for30years. Their insistence on independence quality of literature and ambition to reconstruct classics has never changed.The reason why I chose this topic is because the existence of Today cannot be ignored if a research is conducted on China’s modern literature. No matter the potential writing in the60s and70s, the new poetry-surge in the80s, or the Chinese literature overseas after90s, they are all linked to Today more or less. When examining the development of Today, we can track back and reveal the hard growth of modern Chinese language, which has been communicated with world literature vaguely. Especially in the current fierce globalization era, language has become identity symbol of an author in place of nationality. Extending China’s literature history to Chinese literature history becomes a tendency of diversified writing of literature history. Thus, this dissertation intends to act as a small-scale creative exploration in this area.Since Today covers numerous artworks, here I will mainly discuss about Bei Dao, who was chief editor and the soul of Today all the way, part of poems of similar style that were published on Today as well as proses, short stories and other outstanding contributions in different forms. Compared to existing research, overstepping and integrating are the creative parts of this article, which means, Bei Dao and Today will be moved and analyzed from language exploration in the70s to spirit pedigree of world literature and diaspora of world culture regardless of various limitations including time, geographical area, culture, media and so on. Finally, its literature resources will be integrated according to literature values. This dissertation is trying to get rid of the limitation that past research was usually conducted based on the view of mainland literature. I collected one hundred of editions of Today domestically and internationally, all editions of Bei Dao’s works together with relevant Chinese, English and German comments and disclosed some research and interview resources for the first time in order to break academic barriers between different countries and to construct a solid base for future analysis and multiple explanations. Comparison across borders and time periods makes the research on Bei Dao and Today more thorough in various dimensions and helps to reveal the pioneer exploration made by Today’s staff to integrate advantages of both Chinese and other foreign languages, as well as ancient and modern aesthetic classics.The collection of text resources also reveal successes in other areas that have been concealed by the light of poetry, such as prose, short story and other literature forms. Besides, systematic analysis and disposal of historical ambiguity and vague zones will give us new thoughts about existing conclusion. For example, through looking into the development of Misty Poetry, its representative works, its relation to Today’s poems, and social context in which the name "Misty Poetry" is formed, we can easily notice there is a "make the best of a bad situation" in the forming of historical concept. With compared close reading, we will find the idea-logical and artistic values of Today’s short stories are much better than those of Scar Literature and doubt whether it is reasonable for it to be the beginning of "New Era" literature. New finds are also raised on the background of Bei Dao’s poems in his early years such as "End or Beginning". The whole structure of the thesis is as the following:The introduction briefly sketches the major thread of Bei Dao and Today’s development, points out the value of the topic, draws the analysis of existing results and their limitation, and states my own research route and methods.The main body contains two parts, each having four different chapters. Part I, the Rise of Poetry (Chapter1-Chapter4) is the domestic part, while Part II, the Diaspora of Words (Chapter5-Chapter8), is the international part.Chapter1dates back the growth of Bei Dao and the pre-history of "Today-School". I start with doubtful aspects in "End or Beginning" that was first published on Today to comb through documents and history resources, in order to rebuild historical context and to point out the impact that Bei Dao’s experience in Beijing No.4Highschool when the Culture Revolution started had on his poems and the birth of Today. Meanwhile, Bei Dao’s friendship with his classmates in No.4Highschool was extended to the underground literature circle of Baiyangdian Lake poetry."Baiyangdian Lake Poetry" acted as the pre-history of "Today-School" while its representative poets were influenced by Western modern art before being sent to countryside and enjoyed a spiritual early spring in the agitation of "booklet". Educated youths including Gen Zi, Duo Duo and Mang Ke rebelled the reality and acted against the world through the creative use of language. They tried to change the language style in the Culture Revolution through the process of "demonizing" and "anti-subliming", to call for "New Language" and became known to the public by the Today magazine issued by Bei Dao, Mang Ke, and etc.Chapter2mainly explained the relationship between historical definition of "Misty Poetry" and "Today-School". The potential writing of Bei Dao, Mang Ke and other members of "Baiyangdian Lake Poetry" in the Culture Revolution became public by Today, whose "Shock Effect" lead to a fierce dispute over the "rising Poetry" through mainstream media’s enlarging. This dispute was not pure literal and gave these kinds of new poems a name, which became known to many people then:Misty Poetry. However, Misty means ambiguity itself. It concealed historical details and spiritual characteristics of the new poems, and became a big bag that covered everything:Misty is the general characteristic of modern poems. These new poems in history were a form of a language rebel against solemn and direct speech style with personal, vague characteristics. The literature form can be dated back to "Today-School" and its predecessor "Baiyangdian Lake Poetry" and extend to "Pioneer Poetry" and "New Generation Poetry". Its aesthetic characteristics and art style became more luxuriant and developed in multiple dimensions in the80s.Chapter3includes comments on success of Today in the area of short story. Compared to the Scar Literature at the same time, the short stories on Today were precocious in both spirit and art. They called for "the ego", rebelled against dictator, was brave to bear angst and desperation, re-found personal values and dignity and made attempts in language and literature forms. For example, Bei Dao revealed the natural characteristic of human and social paradox through conflicts, Wang Zhi disclosed the delicate relationships between human and the world with detailed psychoanalysis, while Shi Tiesheng gave humanistic care back to the nature of life in the name of love. However, if we talk about the philosophy root, the short stories on Today were deeply influenced by Existentialism and faced absurdness of reality, loneliness of life and life’s pains bravely but never flattered. It was the first step for China’s literature to return to people’s daily life from santur-ary.Chapter4discusses Bei Dao’s transition in literature started by Today. Comments were made on Bei Dao’s major poems written from1979to1986through close reading and compared close reading. Referring to his personal experience and social activity in the same period, I sketch the evolution of his art works and point out that love poem was his major form from1979to1980, which was ignored by many. After the work of "Borders"(1980), his style became more moderate in modern poems. His immersion in language itself and awareness in writing took control of evolution of Bei Dao’s poems’style. Bei Dao was a translator as well as a poet. He improved his skill in modern poetry with the help of translation and enlarged the field of Chinese expression through translation forms in the early years. In comparing Baudelaire’s poems translated by Chen Jingrong, Lorca’s by Dai Wangshu, Paz’s by Ye Weilian, Transtromer’s by Bei Dao and the overlapping area between Transtromer’s poems and Bei Dao’s, we will discuss in the context of modern literature, translated literature’s impact on evolution of language, integrity of tradition and modern world and adjusting the complicated conflict between nationality and the world.Then we will go to the next part, the Diaspora of Words.Chapter5reviews the historical background of the Diaspora Literature in the world, and points out that Diaspora in20th century was a language activity. The diaspora of a poet means the diaspora of words, whose field is not limited to foreign countries. Due to the same characteristic of "Pioneer Poetry","Misty Poetry" and "After-misty Poetry" who belonged to different groups in the80s reached the same destination in the late80s. In1990, Today was reissued overseas and became the publication field for the merged "Pioneer Poetry". Two generations both regarded language as ultimate reality with similar writing style, which was also in accordance with inherent evolution logical of Chinese literature revolution. Additionally, the context of diaspora provided exile poets a kind of dual-views to review Chinese and Western poems and the capability of contrapuntal thinking. In comparison of cultural differences, the poets became aware that they should take advantages of diverse cultures in various countries and inherit tradition as well.Chapter6briefly discusses a debate, which was aroused by Stephen Owen’s book review on Bei Dao’s poems, on the nationality and the internationality of new poems in world’s Chinese literature circle. It tracks the vertical links between Bei Dao’s together with the Today-School’s new poems writing and the traditional poetry. Especially when it came to the90s, the physical and spiritual diaspora gave them a chance to recognize and think about the tradition again, to get rid of negative limitations of reality factors and to start from the edge to find the cultural memories of their own tradition. Through the close reading of the poems written in the90s by Bei Dao, we can find links between his whims and the Equality of things by Zhuang Zi.Chapter7discusses Bei Dao’s contribution in the field of prose. His proses can be classified into3categories:journals during trips, memories in early years, comments and remarks from biography and academic discussion. Among them, the first category covers the most sub-groups, including "People in the Earth","Memories during a Drift"," Little Pleasures of Life" and "Embarrassing Moments on a Trip". It is not difficult to see that the diaspora of life and the metaphysical diaspora in Bei Dao’s works in the90s connected with each other and joined into the tradition of diaspora aesthetic in world literature of20th century. His proses were his footprints across the world on paper and closely related to his physical travelling. Also, his trips provided clues for us to interpret his poems. Drift and Diaspora, Un-Revolutionary Words, and World Poetry consist of Bei Dao’s art of prose.Chapter8goes back to Today, to introduce the huge wide and deep impact this pioneer magazine in Chinese literature across borders had on re-writing of China’s literature history. For example, Today took discontinued Re-written Literature History in the mainland and carried on with it. It started historical aspect on the horizon of literature, stuck to it for as long as10years and finally returned to mainland for publication. In a sense, The Herald with a Lantern edited by Old Words of Today contributed to China’s literature history in20th century more than simple supplement and completion of original documents but a change in view’s angle and open an untraveled route in historical narration. It forced us to abandon our existing hype-thesis and premise. The Seventies intends to face the past based on experience and challenge from historical memories, in order to consider changes taken place in human, the definition of human and origin as well as direction of culture evolution. The Memories in A Storm, collection of personal experiences about a special history period from various views and points of junior and senior graduates of1966-1968in Beijing No.4Highschool. Now, the End reaches the Beginning and the main body is finished.In the conclusion we review our views of literature history and literal spirits and raise another possibility of literature history’s writing. If past historical narration was closely related to authority’s will, now we connect the destiny of an author, a magazine, to a period of literature history he had traveled and viewed. We open a window of surprise to view the scenery of humanity and provide supplement for missing personalization and vivid details in tradition literature history and make the spirit of literature reach its destination of a capitalized HUMAN.更多还原