中国新时期历史题材小说论

【作者】 刘进军；

【导师】 吴义勤；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2008， 博士

【摘要】 迄今为止,理论界、评论界对历史题材小说的研究取得了丰硕的成果。但这些成果大多只是针对单一类型的历史题材小说进行的研究与论证。面对不同题材的历史小说,理论界表现出的是冷、热不均的研究态势。“热”,指的是众多专家、学者将注意力大多拘泥于“新历史”的小说上面。多年来,理论界对“新历史”小说与西方新历史主义思潮的研究论文多如牛毛。可以说,中国“新历史”小说之所以在新时期中国小说主潮中占有重要的地位,理论界、评论界所做的贡献是巨大的。另一方面,伴随着清宫历史电视剧的热播,以二月河、唐浩明、凌力等作家创作的作品为代表的长篇古代历史题材小说(尤其是明清历史题材小说)也受到众多专家、学者的热情关注与研究。尤其是在《张居正》获得“茅盾文学奖”之后,古代历史题材小说更加受到重视,一大批有分量的学术论文应运而生。但是,我们也能在众多的研究成果中看到,学术界对古代历史题材小说的研究还仅仅停留在个别作家、个别作品的个案层面之上,还远没有达到系统化、理论化的高度。热的只是几个作家、几部作品。既然历史题材小说研究有热的一面,那么也就必然有冷的一面。“冷”的主要表现有:(1)研究视角单一,政治标准仍在主导研究者视野。(2)研究方法单一,对新时期革命历史题材小说、古代历史题材小说的研究没有采用普适性的现代性理论,仍在用框架式的话语来阐释、评论文本。(3)更多地将革命历史题材小说纳入到“战争”的序列中进行解读,忽略了其自身文学题材的丰富性。(4)以偏概全,忽略了全球化与新的文化语境对新时期历史题材小说的影响。(5)研究视野狭隘,革命历史题材小说、古代历史题材小说、新历史小说的研究各自为政,各有各的阐释、分析,却没有人将三者联系起来进行考查。由此可见,新时期历史题材小说研究取得丰硕成果的背后,呈现出一种不平衡与失重的混沌状态,不同题材的历史小说受到的待遇是各不相同的。尤其严重的是,各种不同题材的历史小说之间缺乏有效、合理地沟通与联系。在学术界的眼中,它们被视为一个个单独的结构,结构与结构之间是孤立的、没有联系的,表现出明显的疏离态势。我们只能见到结构内部的梳理与对话,而无法见到结构之间的互相交流。由此可见,近年来理论界对新时期历史题材小说的梳理与研究只是一种历时性的演示,展现给我们的是你方唱罢我登场的线性文学史框架。但实际的情况是,多种历史题材小说齐头并进(有出现的时间早晚之分),它们在多元化的社会语境下对历史所发出的音响是喧闹与复杂的。本人在阅读大量新时期历史题材小说与西方历史哲学理论的基础上,拟对新时期历史题材小说进行整体性、系统性、结构性的统一论述,从而理清新时期历史题材小说的脉络,全面揭示其审美价值、文化价值与历史价值。绪论部分,首先是梳理中国古代小说与历史的渊源,阐明中国古代小说是怎样在与历史的纠缠不清中脱颖而出的。其次,介绍中国近现代历史题材小说的命名与发展,以及其在新中国成立后的兴盛与衰落情况。第三,介绍新时期开始之后,中国历史题材小说的发展概况。最后,对革命历史题材小说、古代历史题材小说、新历史小说做出初步的划分与定义。第一章主要论述新时期的革命历史题材小说。本章共分四节,第一节新时期政治、文化语境下的革命历史题材小说,探讨了在新的政治、文化语境下,中国新时期革命历史题材小说的发展概况。本节共分为三个部分。第一部分,对“革命历史题材小说”命名进行了探源;第二部分介绍了新时期初始的政治语境与文化语境;第三部分叙述了新时期革命历史题材小说的发展脉络。第二节归纳了新时期革命历史题材小说民族国家视野下的革命史诗品格。本节共分两个部分。第一部分从形式上论述了新时期革命历史题材小说波澜壮阔的历史空间;第二部分从内容上总结了新时期革命历史题材小说史诗性的宏大叙事与客观历史的真相。第三节从“由神到人、向内转的平凡人生”、“抽空阶级意识的各色终生相”、“传奇性的叙事模式”、“侠气与匪气的世俗英雄主义”四个方面论述了新时期革命英雄形象的嬗变。第四节从“现代性”的角度论述了新时期革命历史题材小说的两个关键词“国民性”与“革命”。第二章论述新时期的古代历史题材小说。本章共分五节,第一节主要从主流政治视野下的民族、阶级斗争史出发,概括了80年代前期古代历史题材小说。第二节探讨了80年代中期以后的古代历史题材小说的生成背景——三足鼎立的文化板块,共分两部分。第一部分梳理了80年代中期以后古代历史题材小说的创作情况。第二部分介绍了新时期三足鼎立的文化立场。第三节从主流意识形态的文化立场出发,概括了古代历史题材小说民族、国家、史诗三大特性。共分为三部分,一是主流文化意识形态“实用理性”关照下的“以史为鉴”;二是民族国家视野下的大历史图景;三是史诗视野下的“历史真实”与“艺术真实”。第四节从面对全球化语境的精英知识分子立场出发,概括了古代历史题材小说中历史与文化的想象张力。在探讨了新时期知识精英立场下的历史传统文化全息图景之后,分别介绍了文人士子的辛酸史、帝王将相的荣辱史以及纷繁的儒、道、释文化史。第五节从大众民间文化的角度出发,讨论了古代历史题材小说的逸趣。本节首先介绍了读者期待视野下的大众文化与民间通俗文化;其次,推出了大众民间文化的天命史观:循环;第三,详细考查了古代历史题材小说的情欲叙事;第四,介绍了来自民间的通俗文学形式:传奇与章回体。第三章论述新时期的新历史小说。本章共分七节,第一节介绍了西方新历史主义的有关理论,理清了“新历史主义小说”与“新历史小说”之间的纠葛,并为“新历史小说”进行定义。第二节,从解构与建构的角度,阐释了新历史小说对传统权威话语与宏大叙事的消解。第三节,从家族史、生活史、战争史、民家史、生存史五个角度描绘了新历史小说中纷繁的历史图景,展现了作家对历史主体的重新体认与建构。第四节介绍了新历史小说中的人与人性。第五节描绘了历史的偶然性与神秘性。第六节通过介绍新历史小说中作者搭构的共时性、循环型的时空体,展现了历史的寓言化。第七节主要阐释新历史小说的后现代性特征,包括:戏谑、反讽、戏仿等样式。结语部分主要是借用“互文性”这一文学评批工具,对革命历史题材小说、古代历史题材小说、新历史小说进行比较。通过“史诗性”与“反史诗性”、“螺旋上升”中的必然与“循环往复”中的偶然、“英雄”—“帝王将相”—“人”、三种不同的文本背后的历史观念四组新时期历史题材小说中隐性联系的“互文性”比较,得出最终的结论,即:只有掌握了“现代性”这把钥匙,我们才可以彻底打通革命历史题材小说、古代历史题材小说、新历史小说的界限,对它们加以系统性的整体考察,从而实现对新时期历史题材小说的总体把握。新时期的历史题材小说始终对应着中国“现代性”的进程,没有现代性,就不会有新时期历史题材小说。它从现代性中来,它到现代性中去,它始终与现代性进行着文学的互动与精神的沟通,并始终参与着现代性的民族国家想象建构。更多还原

【Abstract】 So far, plentiful and substantial achievements have been made on the research and study of history novels both in the theoretical and critical societies. However, most of these research and study aim at a single type of historical novel research and study. Confronted with varies and different kinds of novels, scholars in theoretical field have shown quite different attitudes which can be defined as two types, that is an unbalanced“Hot”and“Cold”attitudes or attention paid on them.“Hot”refers to that the scholars pay much more attention to“new history novels”. In recent years, a great number of research papers on both Chinese“new history novels”and western new historical theories have been numberless as the sand in the academic circles. We also can say both theoretical and critical circles have really make tremendous contributions to“new history novels”which is in the highest flight in the modern period. On the other hand, along with the history teleplays becoming more and more popular, more and more scholars are paying attention to the voluminous history novels (especially those of Ming and Qing dynasties’) composed by Er Yuehe, Tang Haoming, Lingli, etc. Especially after“Zhang juzheng”was awarded the the“Maodun literature award, the ancient history novels have drawn more attention, so a great number of important or valuable academic papers have appeared. But we can see from these researches that the researches on the history novels just rest on individual studies and fewer works appear which is far away from systemization and theorization. And when it comes to the“cold”, it refers to the following characteristics: 1. Authors’points of view , to certain degree are still under the control of given political standards. And the visual angle for the research is also very simple. 2. The research methods are singular, and people don’t adopt widely applicable modern theory in their research into the historical and the theoretical novels and interpret and comment the literature texts in a certain formal language. 3. The revolutionary novels are interpreted or explained as warlike works, ignore their literary abundances. 4. The impact of globalization and new culture on the historical novels in modern period is ignored.5. Researches are made in a relative narrow eye shot, and research for revolutionary historical novels, ancient historical novels and new historical novels are actually carried out in their own ways, interpreted or analyzed severally, which cause people to fail to make a good use of the three elements to make an effective research for literature works.Therefore,behind the great success of the researches on historical novels in the new period, It appears still in a state of mess and unbalance, different types of novels are interpreted or read differently. Especially different types of the historical novels are isolated or disconnected reasonably and effectively. It seems that the researches in recent years, although blooming in many ways, is still in a disordered and complicated situation. By reading a great number of historical novels in new period and based on the western historical philosophic theories, my paper intends to discus the historical novels in modern period as a whole in a more systemic way, so as to find out the internal regulations of them and reveal their esthetic, cultural and historical values.In the introduction part, I talk about the relationship between Chinese novels in the old days and the history of china, in order to find out how these novels emerged in history. After that, I talk about the development and the definition of the historical novels in the new period, and its rising and declining since the new China was founded. Then I introduce the development of historical novels in the new period. At last I give the definitions to the revolutionary historical novels, ancient and the new period’s historical novels and so on.Chapter one, divided into 4 sections, mainly talks about the revolutionary historical novels in the new period. The first section , divided into 3 parts, deals with the development of the revolutionary historical novels under the new political, cultural situations in the new period; The second section generalizes the epic characteristic of the revolutionary novels in the new period. The third section introduces the way how the features of heroes changed during the new period in four aspects. The forth section, from the angle of the so called“modernity”, discuses the two keywords of revolutionary historical novels in the new period:“subject”and“revolution”.Chapter two, divided into 5 sections, discuses the ancient historical novels. In the first section, I generalize the ancient historical novels written and published before 1980s; In the second section, I talk about the background of the structure of ancient historical novels in the middle of 1980s; The third section mainly generalizes three characteristics of ancient historical novels, that is: the characteristics of nationality, country and epic. The forth section generalizes the power of imaginary in ancient historical novels. The last section talks about the main interest of ancient historical novels. Chapter three, divided into 7 sections, talks about the historical novels in the new period. Section one introduces the western new historical theories, defines the new historical novels. Section two introduces how the historical novels in the new period explain the history. Section three shows how the writers recognize the historical novels in the new period. Section four introduces the human and human nature in the historical novels in the new period. Section five describes the contingency and historical mysticism. Section six introduces the allegoricalization of history. Section seven mainly explains the postmodernist feature of historical novels in the new period.更多还原