共生与互动

【作者】 张红军；

【导师】 谭好哲；

【作者基本信息】 山东大学 ， 文艺学， 2007， 博士

【副题名】对中国20世纪前期文学观念变革与语言变革关系的考察

【摘要】 本论文重点考察了20世纪前期(从现代文学的产生到延安文艺方针确定之前)文学观念的变革与现代语言变革之间的关系。这种关系包括：一，现代文学观与现代汉语修辞观之间的呼应与互动；二，现代文学观念在落实过程中对现代汉语品格的影响；三，现代汉语为现代文学观念的落实提供的支持；四，现代汉语与现代文学观念之间的矛盾冲突。论文第一章，是对晚清语言文学变革主张及其内在关联的考察与分析。近代语言变革与文学变革的合理性，首先是借助于现代性这一大叙事获得的。这使得20世纪前期的语言变革与文学变革有了许多共同性：一方面，它们被赋予太重的历史使命，得到了太多的关注；另一方面，语言与文学又总是处在工具的位置上，语言的文化承继功能、文学的审美性，被忽视了。现代语言变革使文言相对于白话的中心位置、书面语相对于口语的中心位置受到了触动，这与在传统文学格局中处于边缘位置的小说代替诗文成为文学的核心、文学把一般民众而不是士大夫阶层设定为自己的读者，具有同样的进步意义。小说界革命是晚清语言变革与文学变革的交汇点。一方面，白话的通俗化、大众化诉求借助小说这一本身就有大众化、通俗化倾向的文体，得到最大程度的彰显；另一方面，梁启超等人赋予小说的“新民”的使命，借助于白话这种更贴近大众的形式得到最大程度的实现。白话小说创作的繁荣，既标明了近代语言革命的实绩，也标明了近代文学革命的实绩。论文的第二章，主要是对现代汉语的写实性追求与写实主义文学观之间关系的考察分析。五四引入西方“科学”价值观的努力，在文学领域表现为对西方写实主义文学观念的服膺与宣扬。然而，古代汉语，尤其是文言与西方语言相比，在对客观知识的表达上处于劣势，与写实主义文学重客观情景再现，重细节描写等观念有一定的冲突。这使得胡适等人把文学的改良问题转换成了语言变革问题。在探索一种更适合于新文学的语言的过程中，胡适等人首先把自己的目光投向古代白话。然而，用写实主义文学观的要求去衡量，古代白话同样存在很大差距。在现代汉语形成过程中，对其写实能力提升最大的，是包括文学作品翻译在内的白话文翻译活动。现代文学创作中对西方写实主义文学作品的模仿及语体移植也在其中起到了重要作用。这一过程，促进了现代汉语的“欧化”。现代汉语形成的过程，从某种意义上讲，就是以西方的语言为样板对古代汉语进行改造的过程。在这一过程中，现代汉语的写实性得到加强。现代汉语写实性的增强与现代文学写实成就的获得是一个双向互动的过程。一方面，现代文学对西方文学的翻译及现代文学创作中对西方作品中写实性风格与写实性手法的移植，本身就是现代汉语通过西化，进行写实性改造过程的组成部分；另一方面，具有了明确的语法规范、对自身表达的逻辑性、清晰性有了更高追求的现代汉语，也为现代文学写实性成就的取得提供了支持。论文的第三章，对“个性主义”文学的语言观及其与现代汉语形成期的修辞理想之间的关系进行了考察分析。五四作家在要求文学真实地再现社会人生的同时，也要求文学真实地表现主体的内心情感。胡适等人发动的以白话代替文言的诗歌革命，就是要在诗歌中，越过语言形式，直逼创作主体的内心世界。他们把白话假定为一种最接近内心的语言，提出了“自然的音节”、“自然的韵律”等概念。郭沫若等人把这些观点推向了极致。具有个性主义倾向的五四小说作家在汉语文学中创造出了一种典型的五四语体——倾诉式话语。在语言风格上，一方面这种内心独自式的倾诉性表达给人一种不加修饰、流畅自然的感觉；另一方面，经常出现的由很长的定语、状语或补足语组成的句子，又使它具有很强的书面语色彩与欧化色彩。个性主义文学的语言追求，与现代汉语建立之初的修辞理想，构成一种呼应与互动的关系。现代汉语的修辞学理论对古代汉语的“修辞立诚”、“辞达而已”等命题进行了创造性转化，提出了“刚合恰好”这样的修辞主张。“刚合恰好”的修辞观建立在对语言表达主体思想情感的能力高度信任的基础之上。它不仅反对形式主义地堆砌语言，同时也反对为节省语言而导致表达的含混多义。这一语言观念，与现代个性主义文学观具有高度的一致性，是现代早期白话诗歌与白话小说进行语言选择时最直接的理论依据之一。论文在第四章、第五章中，对形式审美主义文学观的展开与现代汉语的审美建构之间的关系进行了考察分析。在五四文学观念中，还存在着一种超越工具论观点，把文学自身的建设作为目的的倾向。胡适文学观的影响表现出相互对立的两个方面：一方面，他文学观中文言与白话简单对立的倾向使他在探讨新文学的语言形式规律时提出了许多有违审美原则的命题；另一方面，胡适对文学自身价值的强调，对文学语言形式的关注，又超越了近代以来工具论的文学观，具有进步的意义，直接引发了现代文学史上关于文学形式的论争。尽管在五四时期，形式审美主义的观念在各种文学观念中处于边缘位置，但它为日后纠正五四文学中存在的误区，从语言形式上完善现代文学留下了伏笔。五四之后，现代文学经历了一个由文言与白话之争到文学的美丑之争，由情感审美主义到形式审美主义的发展过程。在形式审美主义文学观的引导下，有人对中国古典文学传统进行了重新审视，发现了中国古典文学语言形式方面的审美价值及其对于新文学建设的借鉴意义，并站在形式审美主义立场上，对五四以来文学创作的成就进行了总结。形式审美主义作为一种文学观念，在20世纪二、三十年代的许多小说、诗歌、散文作品中都留下了鲜明的痕迹。在中国20世纪从五四新文化运动到30年代的小说中，我们可以发现大量具有先锋意义的文本。这些文本将来自西方的叙事形式与小说中那种富有中国古典艺术神韵的语言、意象、意境结合在一起，形成了一种古典与现代之间的“间性语体”，开拓出了现代汉语的新的审美空间。形式审美主义观念对新诗的影响，则表现为一些诗人们开始把诗歌作为一种语言艺术来经营的努力。在这一过程中，以闻一多、徐志摩为代表的标榜“古典主义”的诗人，其诗歌实践更多地着重于与中国古典的诗歌传统对接，着重于开掘现代汉语形式方面的诗性潜能，以冯至、卞之琳等人为代表的标榜“现代主义”的诗人，其诗歌实践则更多地着重于与西方现代诗歌传统的对接，更多地着重于开掘现代汉语语义方面的诗性潜能。中国早期象征主义诗歌中初露端倪的一些表达方法在“戏剧化”、“知性化”、“反讽”等新引入的诗学概念中得到固化与强调，成为新诗摆脱初期浅白直露的胡适式话语、狂热感伤的浪漫主义话语，从扩张的外显性写作走向凝缩的内敛性写作而臻于成熟境地的理论向导。新文学在这方面的成就，击破了一些语言保守主义者那种只有古代汉语适合艺术表达，现代汉语只适合于实用的观点，极大地增强了人们对现代文学与现代汉语的信心。论文的第六章，是对1930年代前后文学大众化转向的语言层面及其对现代汉语影响的考察与分析。用“言文一致”对新文学语言的实质加以规定是片面的。相对于古代文言，现代汉语有口语化、通俗化的倾向，但从本质上讲，五四新文化运动中诞生的现代形态的文学语言是以文字为中心的书面语言、文人语言，它与五四文学的启蒙立场与个性独立追求是浑然一体的。文学语言的欧化、雅化、审美化对现代汉语的建设有重要意义。文学语言大众化转向的倡导者，把这些作为清算对象，是盲目的。文学语言大众化转向中对民族形式的强调对现代汉语的发展具有一定的建构意义，但由于对大众化倡导者而言，民族化仅仅是大众化、通俗化的一种手段，在倡导民族化时，只强调对民间形式的利用，排除了对中国古典诗文传统的继承，因而30年代的文学语言民族化实践并没有取得应用的成果。无论对现代汉语的发展还是对现代文学的发展而言，文学大众化转向在产生重要影响的同时，也留下了许多遗憾。本论文考察的这么一个历史时期，相对来讲是人们对语言问题关注较多，现代汉语变化比较明显的一个时期，也是文学对与现代汉语的建构贡献最大的一个时期。在这样一个时期，现代汉语与现代文学关系的多种可能性其实都已经发生。因此，在以后的时间里，当人们对现代文学与现代汉语的前途表现出某种困惑时，往往要回到这段历史当中，去寻找可以使自己走出困惑的启示。这一点，决定了本论文写作的学术意义。更多还原

【Abstract】 This study focus on the relationship between the changes of literature concepts and the reform of Chinese in Early 20th century of china(From the birth of modern literature to the Established of Yan’an literature strategy).The following are the main aspects of the relationship this paper have involved:a) How did the concepts of modern literature and the rhetorical ideals of modern Chinese echo to each others.b)How did the concepts of modern literature affect the characters of modern Chinese.c)How did modern Chinese support to modern literature in the process of its implementation.d)How did modern Chinese Literature conflict to the concepts of modern literature.In the first chapter of this Paper ,I have analyzed the thinkers requirements in the process of language and literature reforms in the late Qing Dynasty and the relationship between them., To pursuit modernity was a great narrative in the reforms of modern languages and literature, and this great narrative gave them the main rationality. Same pursuit made same characters: On one hand, they all were given a heavy historical mission and received so much attention-, The other hand, modern Chinese and literature was always at the location of tool, The cultural inheritance function of Language and the aesthetic character of literature were being ignored. The superior status of classical language in comparison with modern language and written in comparison with spoken were reversed in the process of modem Chinese reform. At the same time, the superior status of poems was replaced by novels and the ordinary people instead of the aristocracy were set for the readers in the literature reform. These changes in modern Chinese and modern literature have the same positive significance. Novel revolutionary was the convergence of language and literature reform in the late Qing Dynasty. The prosperity of vernacular fiction was not only the achievement of modern literature, but also the achievement of modern Chinese.In the second chapter of this Paper, I have studied the relationship between the realistic pursuit in modern Chinese reform and the concept of realism in modern literature reform. Scientific values established in West was imported to China by reformers in the period of May 4 Literary Revolution. As a result ,realism which also come from the West became a respectable concept in the filed of modern literature. But ancient Chinese, especially ancient classical Chinese was in a disadvantageous place compared with western languages in the expression of objective knowledge and was in conflict to literary realism. So Hu Shi and his colleagues transformed literary reform into Chinese reform. When they want to find a new literary language more suitable to realism at first, they had put their eyes on the ancient vernacular. However, there was also a big gap between the concept of realism and the ancient vernacular. In the process of the formation of modern Chinese, vernacular translation had greatly helped modern Chinese to improve its realism character. This process of vernacular translation included literary translation. Literary written also played an important role in the process of "Europeanization" of modern Chinese. To some extent, the development of modern Chinese was a process which took western languages as a model to transformation ancient Chinese. The realistic character of modern Chinese was highly strengthened in this process. To improve realistic character of modern Chinese and to pursuit realistic achievement of modern literature were two interactive processes. On one hand, The translation from western literature to Chinese and the literary creation in modern Chinese were parts of the linguistic effort to improve modern Chinese realistic character through Chinese "Europeanization". The other hand, a more grammatical, more logical and more distinct Chinese had provided a support to modern literary realistic achievements.In the third chapter of this Paper, I have studied the relationship between the individualism in modern Chinese literature and the rhetoric ideals in modern Chinese at its born time. When Chinese writers pursued to reappear the social life realistically in the period of May 4, they also pursued to express their minds realistically. The revolution in modern Chinese poetry meant to cross the language forms to catch up with the writer’s inner world. They assumed the vernacular as a language which was closest to their heart, put forward a series of concepts such as "natural syllable" and " natural rhythm ". Guo Moruo and his colleagues developed these views to an extreme. The individualism fiction writers in the period of May 4 created an "inner-talking-discourse ",a typical May 4 Style discourse. The linguistic pursuit of individualism literature had a relationship of cooperation and interaction with the rhetoric ideals at beginning of the establishment of modern Chinese. The rhetorical theorists of Modern Chinese creatively transformed the ancient rhetorical concepts such as "Truthfulness and sincere to speech "(xiu-ci-li-cheng),"express clearly is better"(ci-da-er-yi), and provided an new rhetorical concepts "suitable words for your minds "(qia-hao-gang-dao). The rhetorical concept "suitable words for your minds" built the basis on belief of a high trust in words. It was not only opposed to excessively use of words, but also opposed to save words. This rhetorical concept was highly in agreement with the individualism in modern literature, and it was a direct rhetorical basis when the modern writers chose their linguistic styles on the beginning of modern literature history.In the fourth chapter and fifth chapter of this Paper, I have studied the relationship between the development of aesthetic formalism in modern literature and the growth of aesthetic character in modern Chinese. In May 4th literary concepts, there was a point which took literature not as a tool but as an ontology. Despite the concept of aesthetic formalism was on the edge of the literary concept system in the May 4th period, it had helped the reformers to correct the errors on May 4 literature and to perfect modern literature in its form in the late time. After the May 4 period, modern Chinese literature had gone through a process from a controversy on to use classical Chinese or to use vernacular to a controversy on beauty and ugliness of literature, and through a process from to belief aesthetic individualism to aesthetic formalism. As a literary ideal, aesthetic formalism had left a distinctive mark in the texts of fictions, poems and essays in 1920s and 1930s. The achievements in aesthetic formalism in modern literature had destroyed a conservative point which declared only Ancient Chinese was suitable for art, modern Chinese was only suitable for daily communication. People’s Confidence on modern Chinese was greatly enhanced.In the sixth chapter of this Paper, I have studied the linguistic aspect of the literary popularization turning in 1930s and its influence on modern Chinese. Some modern reformers took oral style as a main character of modern written Chinese, this point was one-side. Comparing with the ancient classical Chinese, modern Chinese has the oral style and the trend of popularization. But in essence, the new literary Chinese is a written language, an intellectual language. This language echoed the May 4 thinker’s stand of enlightenment and individualism. The characters of Europeanization, grace and aesthetic had great significance to the growth of modern Chinese. The reformers who wanted to change these characters in the literary popularization turning were blind. They stressed the importance of national form of Chinese in this turning. This point had some constructive significance to the growth of modern Chinese. But they just took the nationalization of Chinese as a tool of popularization, and the classical traditional of Chinese literature was out of their eyes. So the literary popularization turn in 1930s had little achievement. Whether for the development of modern Chinese or for the development of modern literature, there were so many regrets had been made by the reformers.The period studied by this paper was an important period on modern Chinese literature history. In this period modern reformers were more concerned about the issue of Chinese, and the changes of modern Chinese were more obvious than other periods. This period was also a period in which time modern literature had the biggest contribution on the development of modern Chinese. In such a period, the most possible relationships between Modern Chinese and modern Literature had occurred. Therefore, when people had some confusion on Chinese issue in the late time, they always baked to this period to look for the answers. This determines the academic significance of this paper.更多还原