【作者】 谢锡文；

【导师】 孔范今；

【作者基本信息】 山东大学 ， 中国现当代文学， 2008， 博士

【摘要】 在20世纪中国历史文化的现代转型中,废名的姿态近乎遗世独立。他没有像众多作家那样选择与历史主潮共舞,而是以坚定的反进化论立场和反现代性叙事,铺展开他对20世纪中国历史文化的人文主义思考。这种站在主流旁侧,不与时代为伍的边缘性姿态,使废名在20世纪中国文学史中一直处于被排斥和贬抑的地位,生前身后都忍受着“光荣的寂寞”。然而废名的意义或许正在这种边缘性的姿态中,当他以一个被历史推入边缘的新文学作家的独特视角,孤独而执著地关注着时变与永恒时,他为世人留下的“许多历史家忘记了写的那部历史”也就有了独特的意义和价值。本文正是以废名所持守的现代人文主义立场为基点,审视在中国历史文化的现代转型中,废名坚持与理性主义、科学主义以及现代科技工商对生命与人性产生的异化力量相抗衡,并在此现代人文主义文化倾向的引导下,建立其魅力独具的艺术时空。本文力图通过对废名现代人文主义思想的深入解读,发掘隐于废名晦涩文本与多变文体背后的内在根基。论文共分四章:第一章首先确认废名另类的文学书写所彰显的特异的人文姿态。在20世纪中国文学的现代转型中,废名小说以独特的人文主义视角,展开对乡村中国的文学想象,勾画出独具人文色彩的诗意田园和乡村大地上“月逐坟圆”的永恒生死。在废名的文学视界里,田园上诗意的栖居和生死间超然的坦荡,是中国传统文化中最具永恒价值的东西,在现代性的喧嚣中它们当被永久留存。于是,当同时代的作家随历史进步的激流挞伐现实时,他却“对现实闭上眼睛”,以纯情写田园,以慈悲悟生死,在“纯”与“慈”的目光中,构建20世纪中国文学独特的反现代性主题。这一文学主题的思想根基来源于废名独特的宇宙观——废名反对线性进化的时间观,倾向于佛教既永恒又循环的时间观,在此立场上,他对20世纪无与匹敌的进化论思想提出坚决质疑和批判,指斥进化论不具有普遍的科学真理性,称其在社会道德领域乃是一个无端的妄想,并提出了反对唯科学主义的主张。在20世纪中国历史文化的现代转型中,废名以对中国传统文化之佛学思想和儒家伦理的强烈认同,构建了价值独立的边缘视域,在与主流文学的对峙性关系中,完成了他另类的文学书写。由于废名的现代人文主义立场根植于其佛学信仰和儒学思想之中,本论第二章主要对废名的佛学思想予以解读。作为一位笃信佛学的现代文学作家,废名的佛学著作《阿赖耶识论》,长期以来或被认为“已亡佚”或被视作“有字天书”鲜有学者问津,这便使得以佛学思想为背景的废名创作始终未能获得全面深入的解读与评价。本章通过对《阿赖耶识论》的全面解析,具体梳理了废名佛学思想的基本理路,确认废名所信并非如某些评论家所断言的是其家乡所传之禅宗,得大乘佛教空宗有宗之精要,得唯识学之精义,悟得阿赖耶识之真谛,才是废名佛学思想的基本理路,而这一思想脉络又是在与唯科学主义和新唯识论的论辩中渐次清晰的。第三章主要探讨废名的儒学思想。1922年至1937年,废名作为京城里的新文学作家,其思想与创作表现为会通儒佛,以佛学为主色调;1937年至1946年,废名避战乱于黄梅,成为生活于社会底层的乡村知识分子,佛教的生命价值观已无法满足其对人间现实的思索,自幼濡染的儒学思想以根深蒂固的民间力量影响并重塑了废名的思想和人格,以良知为中心的道德主体成为废名这一时期和此后最重要的人格特征和生命进向。在废名的儒学思想中,对儒学宗教意蕴的开掘是其用力甚重的一笔。作为一个拥有着浓厚宗教情绪的学者,废名在儒佛对比中发现儒学乃是入世的宗教,它在对天命的敬畏中构建宗教性的超越之境,在现世伦理中完成由凡入圣的生命实践,在天人合一的追求中实现会通幽冥古今的至高境界。以宗教情怀解读儒学,废名的理解或有偏颇,却无疑深化了对儒学的认识空间。第四章主要阐释废名的美学思想。与其游走于儒佛之间的思想理路相一致,废名的美学思想也是在佛教美学与儒家美学之间游弋。30年代是废名文学创作和美学思想的高峰,悟得“人生如梦”的废名,在理论和创作上全面诠释了其佛教美学观。废名“梦”的美学经历了三个发展阶段,其一是受波德莱尔、莎士比亚影响对“梦”之幻美的迷恋,其二是受李商隐诗歌启发对“梦”之自觉的刻画,其三是在大乘佛教之唯识学思想引领下,步入“人生如梦”的佛法的境界,将美学思想与人生哲学合而为一,彼此贯通。废名“梦”的美学观从西方文学的影响出发向中国传统文学回归,最终在大乘佛法唯识学的证悟中获得圆满。但是,由于佛法的证悟理则并不为科学的逻辑思维所认同,废名的“梦”的美学最终演化成为世俗世界难以解析、艺术世界魅力独具、佛法世界境界独立的“人生如梦”的美学观。废名二三十年代的小说创作正是借一枝“梦中彩笔”’,取“幻中之幻”,造“明镜”“空花”,通过绘虚幻现实之幻象,画如梦人生之空灵,完成了他以“空”为核心的美学镜像建构。40年代,废名的美学思想随着其儒学转向而折入儒家美学。此时,避战乱于黄梅的废名,倾心俯就于乡村中国的历史真实与现实痛苦,抛却虚空,脚踏实地,对生生不息、传承于乡土民间的生命形式——乡风民俗进行深入考察,他从道德的规约功能、艺术的审美功能、心灵的教化功能和文化的认同功能等方面对传统民俗进行人文解读,从而对儒家美学思想之“观风俗之盛衰”“考见得失”做出了现实的应答。本文通过对废名思想的系统考察发现,在20世纪中国文学之现代人文视域下,作为一个曾经被逐出文学史视野的客观存在,废名以独特的生命履历和人文姿态呼应着时代大潮的变幻,其独特的思想历程伴随着另类的文学文本,在现代文学的历史时空中散发出特异的迷人的魅力,废名的意义由此彰显。更多还原

【Abstract】 In the modernizing transformation of China’s history and culture in the 20^thcentury, Fei Ming has an almost unique standing.Unlike most writers who identified with the mainstream of the history,he shows his humanist reflection on China’s history and culture in the 20^thcentury with anti-evolutionist position and anti-modernist narration. His choice made him the excluded and the restricted in the history of modern Chinese literature.He lived and died in"glorious loneliness".However,the significance of Fei Ming may lie in his stance of non- mainstream.As he eyed the changes and eternities obstinately from the perspective of a neo- literature writer,the " history forgotten by many historians" he left for the world obtained unique value and significance.This thesis adopts Fei Ming’s modern humanist view as a basis to survey how,in the modernizing transformation of China’s history and culture,Fei Ming insisted on countering the alienating forces of rationalism,scientificism,modern technology and industry.Guided by the modern humanist cultural inclination,Fei also established his unique realm of art.This thesis aims at exploring Fei Ming’s latent foundation behind his texts of obscurity and style of levity by explicating Fei Ming’s modern humanist ideas.The paper is divided into four chapters.The first chapter establishes the unique humanist position of Fei Ming’s alternative literary narration.In the modernizing transformation of China’s literature,Fei Ming’s novels developed the imagination for the rural China,depicted the humanist-flavored pastoral countryside as well as the death and life going on eternally there from a unique humanist view.In Fei Ming’s view,the pastoral existence and ease toward life and death are of the most eternal value in China’s traditional culture,which shall be preserved and valued in the ado of modernity.Hence,as most of the modern writers are criticising the reality,he"closed his eyes to reality" and depicts the pastures with pure feelings.He understands death and life with mercifulness.Viewing reality with mercy and pureness, he constructed the special anti-modernism themes in China.This theme derives from Fei Ming’s unique view of the universe.He embraced the cyclical and eternal view of time advocated by Buddhism,and opposed the linear view.From this assumption he criticized and challenged the evolutionary ideas dominant at the time.He pointed out that evolution theory is not a universal truth,and it’s only a groundless misunderstanding in the realm of social morality.During the history and culture transformation of China in the 20^th century,Fei Ming’s strong identification with Confucianism and Buddhism endowed him with an alternative perspective.He accomplished his alternative literary narration in conflicting with the mainstream.As Fei Ming’s modernist humanism is rooted in his belief in Buddhism and Confucianism,the second chapter aims at interpreting Fei Ming’s ideas of Buddhism.As a modern writer deeply believing in Buddhism,Fei Ming’s Buddhism writing"The theory of a^laya"has always been ignored by scholars.This makes the understanding and criticism of Fei Ming’s Buddhism-based work not comprehensive.This thesis aims at grasping the essentials of Fei Ming’s belief of Buddhism,through analyzing his "The theory of a^laya".His grasp is the school of kong and you of the Mahayana and Vijnapti-ma^trata^,his family belief that is not in Zen but in Buddhism are the foundation of Fei Ming’s ideas of Buddhism,which became clear in his debates with scientificism and neo-Vijnapti-ma^trata^.The third chapter focuses on Fei Ming’s Confucianism ideas.From 1922 to 1937, Fei Ming became a neo-literature writer in Beijing whose idea and works integrated Confucianism and Buddhism,though Buddhism inclination was relatively more prominent.From 1937 to 1946,Fei Ming took refuge from the Anti-Japanese War in the countryside,and became a rural intellectual living at the lowest social stratum.The life values of Buddhism were no longer sufficient in aiding people reflect on reality The education of Confucianism Fei Ming received from childhood and his experience with the folks reshaped Fei Ming’s ideas and character.A moral entity centering on conscience became Fei Ming’s most important character.In his ideas of Confucianism, the exploration of religious meaning from the doctrines of Confucianism is also emphasized.Fei Ming discovered that Confucianism is equivalent to a worldly version of Buddhism,and it constructs religious transcendence via worship of fatality.It accomplishes the practice of transcendence in worldly settings,and in the pursuit of unity between human and destiny.Adopting religion to understand Confucianism might not be orthodox,but Fei Ming’s understanding undoubtedly adds dimensions to the interpretation of Confucianism.The fourth chapter is devoted to Fei Ming’s esthetic ideas.In line with his position between Confucianism and Buddhism,Fei Ming’s esthetic ideas also wandered some where between these two fields,and finally settled in Confucianism.As the 1930s is the time when Fei Ming’s writing and esthetic ideas peaked,and he started to understand that life is like a dream.His esthetic ideas manifested themselves in his theory and writings.This chapter focuses on Fei Ming’s esthetic interpretation of "dreams".It went through three stages.First is the fascination with the illusionary beauty of dreams, which is influenced by Shakespeare.The second stage is when he got inspired by Li Shangyin’s poems and started consciously portray dreams.In the third stage,he was guided by Vijnapti-ma^trata^,and integrated esthetic ideas with life philosophy to, achieve the Buddhism understanding of"Life is like a dream".Fei Ming’s esthetic ideas of beauty started from the influence of western literature, and gradually returned to traditional Chinese literature,and finally consummate in the inspiration of Vijnapti-ma^trata^.Yet,inspirations from Buddhism reflection and debates are not accepted by scientific logics.Fei Ming’s esthetics of dream finally developed into something of unique charms that is beyond the understanding of the secular world.Fei Ming’s writing in the 1920s and 1930s adopted the illusions to construct the mirrored reflections.By depicting the illusions of the virtual reality and the emptiness of dream-like life,he completed his aesthetic construction based on the idea of "emptiness".In the 1940s,following Fei Ming’s Confusianist conversion,his aesthetic ideas turned to Confucianist aesthetics.During this period,while seeking protection from war in Huangmei,Fei Ming recognised the historical reality and the suffering of Chinese village and dilligently devoted into the research of folk customs,which were energetic life styles passed down in Chinese villages.He made humanism interpretations of folk customs from different aspects,such as the regulating function of morality,aesthetic functions of arts,civilizing functions of souls and identifying functions of culture so that he offered realistic response to the Confucianist aesthetic idea ---- "observing the rise and fall of folk customs",and "learning lessons from the gains and losses".Through systematic study on Fei Ming’s ideas,this thesis suggests that under the modern humanism field of vision in 20^thcentury China and as an actual existence who had been expelled from literary history for a time,Fei Ming echoed the great social changes with his unique life experience and humanism stand.Fei Ming’s unique developing course of thought produced unconventional literary texts which exhibited attractive charm in modern literature and demonstrated the significant meaning of the existence of Fei Ming.更多还原