【作者】 张翼；

【导师】 吴秀明；

【作者基本信息】 浙江大学 ， 中国现当代文学， 2009， 博士

【摘要】 当中华民族以弱者身份,由自我中心的传统语境进入“自我——他者”互动竞争的现代语境时,民族自我形象,即在“他者”参照下认知、判断和规划“自我”成为了普遍的焦虑。而当知识分子纷纷选择文学作为表达手段时,“民族形象”,即通过文学来进行对自我的现状判断和未来规划,成为了现代文学的题中之义。历史的规约使得现代文学民族形象的生成与建构,不得不在“自我——他者”的二元模式中展开。然而在移植他者、对抗他者与超越他者的历程中,国民性、政治、民间日常生活经验等多种精神原则竞争、互渗形成的自我认知,“沉默的大多数”、“农民阶级”、“民族英雄”等形象表征构成的表征谱系,“白话”到“大众化”再到“民族形式”的形式探索,都以自身的经验或失误呈现出了更为复杂、阔大的内涵,并在不同程度上突破了简单的二元对立。由此,文学能动地介入了现代民族国家共同体的建构。本文将以民族意识与形象诗学的双重视角,通过历史传承、精神原则、表征谱系与形式诉求等四个层面,构筑现代文学民族形象的立体空间,并对其规律与得失进行总结、甄别,为当下民族形象的书写提供参考。全文由绪论、正文(四章)和结语三部分构成,各部分内容如下:绪论,通过概念厘定,提出研究方法和研究思路。在对“中华民族”进行词源梳理的基础上,从民族意识与文学追求的双重角度对“民族形象”的内容与特点进行归纳。根据民族形象的特点确定论文研究的范围与阶段性分期。指出“民族形象”既包含了以往研究中的“中国形象”所指称的民族国家含义,又凸显了其中复杂多维的文化、文学内容,由此对现代文学研究中的“民族”维度进行深入与拓展。第一章,现代文学民族形象历史传承的清理与甄别。传统的自我中心意识,既造就了稳定、自足、优越的古典“中国”形象,也成为了产生现代民族形象焦虑的关键内因。晚清文学面对着失序的民族意识所做的探索虽含混不清,却向现代文学提出了建立民族形象的召唤,并对精神资源及文化对接、文学经验等一系列问题进行了提示。第二章,现代文学民族形象自我认知的多维精神原则的展现与分析。中华民族在1917——1949经历了移植他者、对抗他者与超越他者的艰难跋涉,其间国民性、政治、民间日常生活经验等多种精神原则竞争、互渗,共同规划了民族自我意识的走向。文学在对民族自我意识主流做出反映的同时,也以自己特殊的观察和表达方式表现出一定程度的疏离。第三章,现代文学民族形象表征谱系的归纳与反思。民族形象总是会以凝聚着某种精神原则特征的人物形象作为表征来进行传达。当多重精神原则竞争之时,民族形象相应地形成了由“沉默的大多数”、“农民阶级”、“民族英雄”等表征构成的表征谱系.这些具体表征在满足民族对自我进行认知与规划的同时,又总是从内部对自身提出反思甚至是质疑。第四章,现代文学民族形象形式诉求的总结与思考。民族形象为了达到示范与普及的目的,需依托能够有效进行大范围传播的语言形式。这一形式诉求,推动现代文学进行了由“白话”到“大众化”直至“民族形式”的探索,其中西方审美经验的引进与借鉴,传统审美经验的现代转换等尝试都在留下丰硕成果的同时,带上了无法逾越的历史局限。结语,现代文学民族形象的影响力直达当今,这既说明了现代文学民族形象的重要意义,也提醒我们要对其中的经验、教训进行历史地甄别。一个开放的、良性的民族形象需要建立在自我与他者良性互动的基础之上,满足民族意识与文学追求的双重需要。更多还原

【Abstract】 The anxious proposition for Chinese Nation as the weak was how to define and program Self on the modern interactive "Self Vs. The Other" platform. Correspondingly, how to express the people’s thoughts and sprits by literature was the key issue to the Modern Chinese Literature especially when the Chinese intellectuals were involved in this historic course. In the context of "Self Vs. The Other", the writing on the Nation’s Image had to endorse this binary opposite prospect of necessity. While in the practice, the national self-consciousness fused by nationality, politics and folkness, the representation system transited from "the Silent Majority" to "the Peasant Class" and to "the National Hero", the language form derived from Colloquialism , Popularization and National style surpassed the binary pattern in their different aspects. All of these experiences and faults will be beneficial to the current writing of Nation’s Image especially in the national rejuvenation movement. This thesis will focus on the occurrence and growth of Nation’s Image in the Modern Chinese Literature in the dual sights of self-consciousness and imagery poetics.The thesis consists of six parts. And its main contents are as follows:The introduction reveals that Nation’s Image was defined by self- consciousness and literature. Because of the dual requests, the period in the thesis was set from 1917 to 1949 and was divided into three stages. The Nation’s Image surpassed the traditional China’s Image too.Chapter One points out the historic foundation and questions of the modern Nation’s Image. The classic Central Image which was based on the traditional Self-center’s self-consciousness and formed superior representation caused the anxiety in the modern literature primarily. Facing chaos, the Latter Qing Dynasty Literature tired to strike up many kinds of Nation’s Images. Although these images were ambiguous, they summoned the occurrence and construction of Nation’s Image in the Modern Chinese Literature.Chapter Two mainly discusses the development of the self-cousciouseness fused by nationality, politics and folkness. Nation’s Image always establishes on the specific national consciousness. Chinese Nation was experienced from transplanting to resisting and to surmounting The Other. In this process , nationality, politics and folkness competed and influenced each other which striked up the national self-cousciouseness. At the same time the literature reflected the development of national consciousness; it also questioned and even corrected the mainstream by its distinctive practice.Chapter Three focuses on the summary and reconsideration of the representation system. The Nation’s Image always demonstrated with the aid of some representation which manifested some criteria. When the criteria developed, the representation system transited from "the Silent Majority" to "the Peasant Class" and to "the National Hero". These representations manifested some spiritual criteria and reconciled them too.Chapter Four explores the trend of language form which was spured by the writing of Nation’s image. Besides reflection of some criteria and demonstration by some representation, Nation’s image should be expressed by suitable language form. For best being accepted, the language form derived by Colloquialism, Popularization and National style. In the experience, the absorption of western form and the transformation from traditional esthetic to the modem also provided with rich fruits and left historical limitation.The conclusion tries to induce the achievements and the faults of the writing of Nation’s Image in Modern Chinese Literature. An open and benign Nation’s Image should be established on the harmonious relationship between Self and The Other by way of cooperation of self-consciousness and literature.更多还原