中国现代左翼浪漫主义诗歌研究

【作者】 韦良；

【导师】 高永年；

【作者基本信息】 南京师范大学 ， 中国现当代文学， 2013， 博士

【摘要】 中国现代左翼浪漫主义是一个合成概念,它是由“左翼”即无产阶级革命话语和“浪漫主义”文艺思潮二者在特定历史时期并主要是20世纪20年代中后期和30年代前期的政治文化语境内结合而成的特殊文学形态。中国现代浪漫主义文学思潮与左翼政治话语在新文学第二个十年的结合,已然表明是一种历史的必然,而由此催生出的中国现代左翼浪漫主义文学,定然会兼具了左翼文学和浪漫主义文学的双重特征。但因为左翼政治话语的无比强大,事实又主要是以浪漫主义的扭曲、变形乃至全面缩水来成全左翼话语,故而中国现代左翼浪漫主义文学的双重特征并不是左翼政治与浪漫主义两套话语的简单叠加,而是以左翼政治改造浪漫主义的形态存在的。改造的结果,是以立足于民族主体性并主要是阶级主体性的“我们”置换立足于个人主体性的“我”,左翼浪漫作家在一次次地自我批判和否定中,将个人主义和创作个性不加区分地一并予以否定,从而一步步地丧失了主体情感体验的真切性和个体灵魂表达的自由性,于是大量左翼浪漫主义文本逐渐沦落为浪漫质素稀缺的仅被用作煽动革命激情的革命乐观主义或革命英雄主义,并最终走向了伪浪漫的深渊。然而,在左翼文学刚刚勃兴之际,由于左翼政治与浪漫主义两套话语未及实现真正意义上的整合,意即左翼政治话语还没来得及实施其对于浪漫主义强大且全面性的改造,故而左翼浪漫作家的诗人气质和创作个性都还没有受到权力话语的严格限制,这种情况的存在,使得左翼政治与浪漫主义的平衡木暂时性地向浪漫一端倾斜,革命这一全新事物的存在反而为浪漫主义作家敞开了一个自由表达的意义生长空间,于是,也就集中出现了一批以个体的“我”为抒情主体,真实表达革命带给自身多重生命体验的左翼浪漫主义文本,为我们展示了身兼革命战士和浪漫诗人双重身份的个人主体丰富而又多元的情感世界,这些文本无疑是左翼浪漫主义文学世界里不可多得的珍宝。本文主要是以20世纪20年代中后期至抗战之前出现的典型的左翼浪漫主义诗歌为阐释对象,通过对其代表性文本的深入解读,系统整理出两类优秀的左翼浪漫诗歌文本,其一是以个体的“我”为抒情主体的左翼浪漫诗歌,其二是拥有个体与集团两重抒情主体的左翼浪漫诗歌,并对这两类浪漫诗歌之个人主体性的存在方式特别是情感传达范式予以了理性爬梳、探析和总结,旨在于廓清两类左翼浪漫主义诗歌丰富而多元的情绪情感世界。此外,本文对于左翼浪漫诗歌的意象体系同样进行了系统地学理考辨,以期在主体性和想象力两个向度上界定中国现代左翼浪漫主义诗歌的浪漫质素,进而还原其在中国现代左翼文学和中国现代浪漫主义文学发展链条中的实际位置。而蒋光慈作为中国现代左翼浪漫主义诗歌的首发者,无论就其个体生命的类型学意义还是其在左翼浪漫诗歌创作方面的成败得失,都特别有助于我们深度考察革命诗人的心灵世界和创生期左翼浪漫诗歌的真实样态,因而将其作为典型个案单列一章进行系统阐释,以期在进一步完善中国现代左翼浪漫主义诗歌研究体系的同时,对此类诗歌多舛的命运拥有更多的理性认知。更多还原

【Abstract】 The modem left-wing romantic literature in China is a concept that consists of left-wing discourse, which is proletarian revolution discourse, and romantic thought in literature and art. These two elements of the concept are combined together as one specific literary form in a certain period of time, mainly in the political and cultural context of the late1920s and the early1930s. The combination of the modern Chinese romantic literature ideological trend and left-wing political discourse in the second decade of new literature indicates a historical inevitability. The modern left-wing romantic literature appears in this environment certainly contains dual characteristics of left-wing literature and romantic literature. However, the left-wing political discourse is quite powerful and realized by the distortion, transformation and even complete shrink of romantic literature. Thereby, the dual characteristics of the Chinese modern left-wing romantic literature are not the simple composition of the two discourses. On the contrary, they exist as the transformation of the left-wing political discourse on romantic discourse. The result of the transformation is the replacement of "I" based on individual subjectivity with "we" based on national subjectivity, mainly class subjectivity. The left-wing romantic writers deny the individualism and creative personality indiscriminately in self-criticism and denial again and again. They lose sincerity of emotional experience and the freedom of individual soul expression. Hence, a large number of left-wing romantic writings are gradually reduced to revolutionary optimism or revolutionary heroism which is used to incite revolutionary passion. Finally they step into the abyss of pseudo romanticism.However, when the left-wing literature just rose at first, the two discourses of the left-wing politics and romanticism are not combined together in real sense. That is to say the left-wing political discourse is not ready yet to transform the romanticism powerfully and comprehensively. The poetic disposition of the left-wing romantic writers and creative personality are not strictly restricted by power discourse. In this situation, the balance beam between the left-wing politics and romanticism temporarily tilts toward the latter. The existence of the new revolution opens a space for romantic writers to express themselves freely. A lot of left-wing romantic writings appear at that time with lyric subject based on individual "I" and true expression of the multi life experience. The colorful and polybasic emotional world of the individuals with the dual identity of the revolutionary soldiers and romantic poets is presented for us. These writings are undoubtedly precious in left-wing romantic literature.This dissertation mainly studies the classic left-wing romantic poems before the anti-Japanese war in the middle and the late of1920s. Through thorough interpretation of the representative texts, it sorts out two categories of excellent left-wing romantic poems. In one of them, the lyric subject is the individual "I". The other type is the one with the dual lyric subjects of the individual and the group. It carefully examines, probes, and summarizes the existing form of individuality, especially the individual emotional expression paradigm. By doing so, the diverse emotional world in the two categories of the left-wing poems is well clarified. In addition, this dissertation has a systematic academic research on the image system of left-wing romantic poems. Hopefully, the romantic quality of the modern Chinese, left-wing romantic poems is defined from the two dimensions of the individual subjectivity and imagination. The real position of it in the development of the modern Chinese left-wing literature and romantic literature is restored. Jiang Guangci is the pioneering poet in modern left-wing romantic poems. The significance of individual typology and his success and failure in poetic composition are helpful in investigating the soul of revolutionary poets and the real mode of left-wing poem in its initial stage. As a classical case, the study on him is developed into one single chapter aiming at achieving a better rational understanding of such kind of ill-fated poems, together with the perfection in the research of the present left-wing romantic poems in China.更多还原