中国现代文学理论建构三十年

【作者】 刘恋；

【导师】 徐德明；

【作者基本信息】 扬州大学 ， 文艺学， 2014， 博士

【摘要】 中国现代文学理论与文学创作的实践同步发展,却在现代教育语境中凝定。文学理论的要义通过在课堂“讲”的方式得以呈现,这些“讲义”是对文学的一般概括。这是中国现代文学理论的原初形式。这些讲义烙印着时代、社会、文化的痕迹,汇聚、呈现出文学理论学科的原初形态,也反映了讲者个人的思想风貌、知识文化结构,更能呈现中国文学理论现代化的参差面貌：中西文化的冲撞和交融、古今理念的对峙与汇通、文学创作与理论宣讲的呼应与背离、知识分子的时代选择和理论思考等。而这些都对我们把握以“文学概论”为主体的中国现代文学理论的建构的状况,及其理论来源、知识结构、未来走向,具有重要价值。本论文循此思路整合与剖析诸家的讲义。绪论是论文展开的端绪与基础。论文题目是“中国现代文学理论建构的三十年——以十三部讲义为对象的研究”,略述其中关键词的重心：“中国现代文学理论”是定性的工作,意在阐释这“十三部讲义”的理论的现代性；“建构”意在阐明这“十三部讲义”是中国文艺学学科得以成形的基础性论述；“三十年”是一个历时性发展,其与中国现代文学史的参差对话,恰恰说明中国现代的文学是以理论为先导的；而这“十三部讲义”,上起1914年姚永朴在北京大学开讲的《文学研究法》、下讫1942年程千帆在金陵大学讲授的《文论十笺》,正是中国现代文学理论未被意识形态笼罩、未走进体制化话语体系之前,最自觉、自由、精彩纷呈的一段。我在充分尊重学界对这一时期的研究成果的基础上,发现中国现代文学理论研究的空白点,力图解决一些未明的有关文学理论发展的问题。论文的思路是在以讲义为标志的中国现代文学理论发展的各个节点上,标识其阶段性特征。这些点的贯串,又形成中国现代文学理论的发展脉络与历史轨迹。所以,我的方法是以论带史,这一方法与概念的演绎、归纳、系统建构相辅而行。因此,论中含史是本论文的特点之一。讲义与大学体制提供的理论接受空间之关系的阐述,是本论文特点之二。此一阶段的理论多元空间(所谓“多元”,是指不受意识形态束缚、羁绊的自觉自主形态),是特点之三。我将这三个特点贯穿在下面三章的论述中。第一章“多元的理论形态”。这十三部讲义的理论多元特质,与讲者的主体认知、知识结构,以及传统文论的延续、西方文论(包括经由日本之中介渠道)的舶来,有多重相关。它们各自的侧重点,自主地形成差异。为阐述这种多元特征,首先要对十三部讲义进行理论细读,包括字面的阅读、理路的梳理、理论背景的解析、知识点的掌握等,以“述”为主,间有“析”与“论”。有此基础,得以明确中国现代文学理论“三十年”的生态,并进而明晰中国现代文学理论发展的历史脉络。第二章“理论个性的书写”。这十三部讲义的撰者,除了作为大、中学的教师／教授的一致身份外,他们的知识背景、学术经历、理论认知和其他身份(如作家、学术研究者)的差异性,使得他们的论述内容呈现突出的个性。明确它们的各自理论个性,是本章要旨。这一要旨,与继起的社会主义时期的又一“三十年”(20世纪50-80年代文学理论的统一性与单一性,恰成对照。第三章“理论通识”。因为是讲义,再艰深的论述都必须从基本常识开始。这十三部讲义在文学定义、思潮／流派／主义／倾向、文学之“情”、真实与摹仿／模拟、文学批评、文学与革命等基础认知方面,具有相当程度的通识特征。另外,它们从个性化生命到普遍人生、到与时代密切相关的中国知识界的“苦闷”主题,均有浓墨重彩的理论发挥。本论文以十三部院校讲义为具体对象,于进入二十世纪的“三十年”的时间内,在理论细读的基础上,通过“史”、“论”结合的方法,隐括出“中国现代文学理论”发展的历史脉络,凝练出属于不同知识背景、话语结构的讲义各自的理论个性,并通过学术体系、文学流派间的打通,时代特征、知识分子群体共时性感受与认知的揭示,概括出普遍之“人生”与时代之“苦闷”的理论主题。论文旨在通过对这十三部讲义的解读、对这三十年文学理论著述情况的述评,重回中国现代文学理论建构之期的历史场域,借前人自觉自主、个性突出、融合古今的理论书写,对当下及今后的中国文学理论的研究有一些启示。更多还原

【Abstract】 Chinese modem literary theory synchronously develops with the practice of literary creation, but it’s specified in modern educational contexts. The essentials of literary theory are presented in the classroom via teaching, and those "lecture notes" are a general overview of rature. This is the original form of Chinese modern literary theory. Those lecture notes are imprinted with the trace of times, society and culture, presenting together the original form of literary theory. They not only reflect the lecturers’thinking styles and cultural structures, but also show various features of modernization of Chinese literary theory:collision and blending of Chinese and western cultures, confrontation and convergence of ancient and modern concepts, echo and deviation of literary creation and theory preaching, era choice and theoretical thinking of intellectuals and so forth. They are all valuable for our grasp of the construction status, theoretical source, knowledge structure and future trend of Chinese modern literary theory with the "introduction to literary theory" as the main body. This thesis is integrated following this line of thought.The introduction part is the basis of this thesis. The thesis is entitled "Thirty-year’s Construction of Chinese Modern Literary Theory---Research on Thirteen Lecture Notes" Among them, the "Chinese Modern Literary Theory" is qualitative, explaining the theoretical modernity in the "thirteen lecture notes";"construction" is to clarify that the "thirteen lecture notes" are the fundamental statement for the formation of literary discipline while "thirty-year" is a historic development. The irregular conversation between the thirteen lecture notes and history of Chinese modern literature precisely shows that Chinese modern literary is given priority to the theory development. The "thirteen lecture notes", starting from Yao Yongpu’s "Method of Literary Study" given in Peking University in1914and ending with Cheng Qianfan’s "Ten Annotations in Literary Theory" taught in University of Nanjing in1942, are the most freely and brilliant existence before the Chinese literary theories are influenced by the ideology and the institutionalized discourse system. With full respect for the former academic research on this period, this thesis finds out some unknown parts in the research of Chinese modern literature and strives to solve some unclear issues about the development of literary theory. This thesis identifies the phasic characteristics of each node marked with the thirteen lecture notes in the development of modern Chinese literary theory. These nodes make up the development and historical trace of Chinese modern literary theory. So the method of explanation with historic events is adopted, which is supplemented with deduction and induction of concepts as well as the system construction. Therefore, one characteristic of this thesis is explanation inserted with historic events. Another characte is the discussion on the relationship between thirteen lecture notes and the space to accept the theory at colleges. The third characteristic is theoretical multiple space (The so-called "multiple" means self-consciousness free from ideological shackles and fetters). These three characteristics are discussed in the following three chapters.Chapter One is "Multiple Theoretical Forms". This multiple traits of the thirteen lecture notes are correlated with speakers’awareness and knowledge structure as well as the continuation of traditional literary theory, exotic western literary theory (including via Japan). Their respective emphasis makes the differences. In order to illustrate these multiple traits, what should be firstly done is the theoretical peruse of thirteen lecture notes, including literal reading, thoughtful carding, the analysis of theoretical background and the mastery of knowledge points, etc., in which "statement" is the main part with some’"analysis" and "comments". Based on this, thirty-year’s Chinese modern literary theory is defined while the historic development of Chinese modern literary theory is also clarified.Chapter Two is’"Writing of Theoretical Characteristics". Expect that the composers of the thirteen lecture notes are all teachers or professors at colleges or secondary schools, the differences in their knowledge background, academic experience, theoretical cognition and other identities (such as writers, academic researchers) present the contents of thirteen lecture notes with prominent personalities. Clarifying their respective theoretical personality is the core of this chapter. The core contrasts with another "thirty years"(from1950s to1980s) in the socialist period featured with unity and oneness of literary theory.Chapter Three is "Theory of Common Knowledge". For lecture notes, the abstruse discussion must start from the basic knowledge. These thirteen lecture notes have some considerable common points in basic cognitive aspects, including literature definition. thoughts, genres, doctrines, tendencies,"love" of literature, the reality and imitation or simulation, literary criticism, literature and revolutionary, etc. In addition, there is all theoretical statement from individual being to common lives and the "anguish" era theme of Chinese intelligentsia.This thesis takes the lecture notes from thirteen institutions within the first30years in the twentieth century as objects. On the basis of theoretical peruse, through the combination of "history" and "discussion", it describes the historic development of "Chinese modern literary theory", sums up the theoretical characteristics in lecture notes of different knowledge backgrounds and discourse structures. Through combining the different academic systems and literary genres, this thesis also reveals characteristics of the times as well as the synchronic feelings and cognition of intellectual community, and summarizes the common "life" and the "anguish" theme of the era. By interpreting these thirteen lecture notes and reviewing the thirty-year’s writings of literary theory, this thesis goes back to the historic period of theory construction of Chinese modern literature, with the help of predecessors’self-conscious, outstanding theoretical writings that integrating ancient and modern, and it will give some inspiration to the research on the present and future Chinese literary theory.更多还原