艰难的生成与暧昧的整合

【作者】 房伟；

【导师】 吴义勤；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2009， 博士

【摘要】 “宏大叙事”,是解读1990年代小说关键词之一。对“宏大叙事”的理解,直接影响1990年代以来文学史面貌、整体框架和内在评定标准。然而,对该概念的使用范围、内涵、局限、在当代中国的复杂意义生成状态,我们还缺乏清晰认识。宏大叙事(grand narrative)理论,首先是西方后现代哲学家推出的术语,原义指呈现出整体性、宏大性的现代性神话,后被扩展为一种人类整体性、宏大性的思维方式。利奥塔将宏大叙事分为启蒙解放与哲学思辩两个类型。启蒙解放叙事,主体是人民,目标是自由,人类从宗教和封建专制中摆脱出来,现代民族国家得以确立。思辨叙事,则是一种哲学思维方式,也是知识与理性,追求科学合法性的话语策略。宏大叙事概念,伴随后现代思潮对现代思维的解构应运而生,本义的负面色彩浓厚,在解读上也存在很大争议。在向文艺学、社会学等学科延伸时,后现代思维对“宏大叙事”的认识,更具一定偏颇性——特别是该理论在阐释第三世界国家文化的时候。就中国语境而言,宏大叙事概念伴随后现代理论,于80年代中后期登陆中国,并在1990年代风行一时。它既有利于解读文艺界新现象,也造成多重“误读”,理论阐释和文学创作实际的脱节,更影响到文学批评导向,及作家的创作心态。对1990年代小说,我们目前文学史认知的一个常识性判断,就是“宏大叙事解体”。但是,宏大叙事的价值何在,宏大叙事对1990年代小说的合法性,1990年代小说中宏大叙事是否解体并消失,以及宏大叙事如何解体,多元叙事如何确立等问题,目前学术界还缺乏有份量的研究专著。我认为,在目前理论前提下,宏大叙事,可以被看成一种人类“趋向整体性、宏大性的”思维方式,一种结构性因素,而不是“非此即彼”的本质性因素。涵盖全社会的宏大叙事权威,在1990年代中国已趋于解体。然而,正如现代性发育,对后发现代中国仍具合法性,1990年代小说“中国宏大叙事”,也并没有终结,而是在“前现代、现代与后现代”并置,“解构与建构”并存,“个体神话”与“集体影像”杂糅的空间化情况下“艰难再生”。同时,这个过程,也是启蒙思想、国家民族意识、革命意识等不同宏大叙事类型重新“暧昧整合”的过程,充满了碰撞、嫁接、拼贴与融合,并展现出独异的“中国特色”。在绪论与上篇部分,首先,我梳理了宏大叙事理论的概念生成,以及围绕它而产生的争论。这里,我强调了两点。一是后现代理论下宏大叙事概念的内涵,二是指出这种以解构姿态出现的“宏大叙事”语义的缺陷。其次,我研究了宏大叙事与现代小说结合的过程,并分析了现代小说中宏大叙事的美学因素。它不仅可以表述为经典现代小说的本质性形态,也可以成为结构性要素;它不仅是小说思想意义、小说主题、小说技法、小说美学风格、也是一种构成性的小说叙事策略。再次,我从总体上,重新指认了1990年代中国小说宏大叙事的特点。一是1990年代小说对宏大叙事的三重误读,即宏大与个体的对立、宏大叙事的终结、解构与建构的对立;二是1990年代小说宏大叙事的文学史逻辑,即无法断裂的断裂性;三是1990年代小说宏大叙事的文学史形态,即理论与创作错位、并置性生成、杂糅式整合。这些特点,既给1990年代小说宏大叙事表述带来一定程度的混乱,又蕴育着有中国独特文化经验的“中国现代性”宏大叙事。具体而言,在1990年代中国小说中,有两种非常明显的宏大叙事性质素。一是启蒙宏大叙事,二是国家民族叙事。启蒙宏大叙事,经过80年代末、90年代初短暂迷茫后,在反思和有限个体性原则下,推向了新的人性深度表述。它可以大致划分为批判性个体、世俗性个体、和谐性个体三个类型。在批判性个体小说中,存在着悲剧抗争意识与死亡意象,第一人称旁观者的反思视角,隐含作者与叙事者、主体性人物价值趋同,有限个体化历史反思四种宏大叙事特点。悲剧抗争与死亡意象,为集体性激进启蒙唱响了挽歌。而“第一人称旁观者的反思视角”,“隐含作者与叙事者、主体性人物价值趋同”的双重叙事策略,则一方面标志着“对封建权力专制的反思”与“对启蒙的反思”同时并存于这类批判性小说中;另一方面,则表明这些批判性启蒙小说,人物、作者与叙事者在相对平等关系下,重塑启蒙理性的努力。在世俗性个体小说中,存在革命与世俗的悖论,女性身份与文化权力的世俗表述困境,世俗幽默的主体焦虑三种宏大叙事表现形态;世俗个体对革命叙事的解构,伴随着世俗个体神话的生成。然而,革命却在“青春期的转喻”、“区隔革命恐怖与理想主义”等策略中,成为精神怀旧与市场化暧昧整合,从而将颠覆的冲动与叛逆的解构杂糅一体。女性身份和权力的构建,也在消费文化的挪用和改写之下,面临着内在危机。而世俗性幽默小说,在利用“幽默”找到世俗个体信心时,也使“话语过量”的焦虑,时刻阻挠着主体性的完成。和谐性个体小说,则存在日常生活的审美提升、伦理美乌托邦、虚构历史的轻逸想象三种宏大叙事倾向。和谐性个体小说对日常经验的“审美化提升与反思”,是其策略之一,展示了1990年代小说家向和谐美回归的审美趣味;伦理美乌托邦在结合“启蒙”与“传统美”时,则表现出巧妙的“意识形态规避性”;而从历史虚构到虚构历史的转变,“轻逸”的古典想象,在先锋转型之中,有着削平深度、将启蒙变为通俗故事的内在危机。同时,我还以“余华小说的两次转型”与“王小波小说中的革命+恋爱”为个案,进一步分析启蒙宏大叙事在“解构”与“建构”并置,“前现代、现代、后现代”杂糅情况下新的可能性与表述困境。余华从否定宏大叙事,到认同世俗性启蒙,再到生硬地回归宏大叙事,深刻地验证了一部分启蒙叙事小说的内在逻辑。而作为“文坛异数”,王小波改写“革命+恋爱”小说模式,重构革命与爱情的关系、性爱与爱情的关系,男性与女性的关系,从而有效反思了集体性启蒙弊端,张扬了个体精神自由、欲望合法性、智慧与创造力,凸出了启蒙的有限个体性原则。国家民族叙事,也是1990年代小说宏大叙事的重要表征。就其整体性特点而言,1990年代小说中国家民族叙事最鲜明特色,就是“文化复兴现代中国”。这是继五四以来“他者的启蒙焦虑”、“建国神话”后,国家民族叙事新的核心内涵。这种内涵在1980年代已初现端倪,并在1990年代不断发育,成为比较鲜明特点。“文化复兴现代中国”,一方面,延续了国家民族叙事的现代性品质,以现代国家民族主体的塑造为其中心任务;另一方面,却在一定程度上,克服“他者启蒙”对本土传统文化的遮蔽,以及“建国神话”中阶级革命对国家民族意识的改写。同时,这一特点的出现,也使1990年代中国国家民族叙事,更具主体性与开放性,允许国家民族意识与革命叙事、启蒙批判、通俗消费文化以“杂糅”与“并置”的方式加以整合。具体而言,1990年代小说国家民族叙事呈现出“现代强国梦”的国家史诗与“民族文化史诗”两种叙事倾向。“现代强国梦”的国家史诗,是延续80年代改革小说的,新主流意识形态宏大艺术策略,从属于“文化复兴的现代中国”设计。这一新宏大主题,使主流意识形态文艺,顺应时代潮流,在“社会主义市场经济”意识形态规范下,不断调整与整合,并生成了“主旋律小说”,这一特定的小说宏大叙事美学。这种“凸出主体、容纳多声部”的叙事策略,杂糅政党利益、阶级革命叙事、国家民族意识形态、启蒙批判与大众通俗消费意识。它围绕国家民族意识核心,形成由近至远,既有核心价值,又杂糅而开放的同心圆式体系结构。主旋律叙事不仅有效整合了各种小说类型(即新改革小说、新军旅小说、新现实主义小说、官场小说),而且在每种类型内部,也都复制了这种稳定结构形态。再次,就“民族文化史诗”而言,国家民族叙事,从启蒙史诗与革命建国史诗中挣脱出来,在“文化复兴的现代中国”主题下,不断拓展史诗的空间和时间建构,从而形成现代小说的史诗主体。在叙事空间感上,它表现为原有叙事空间的拓展,以及新的叙事空间的生成。在叙事时间上,表现为民族文化时间记忆的复活。通过这两种方式,中国国家民族叙事打破了“他者启蒙”、“阶级建国神话”的文化被动性,展示了独特现代性经验。就国家民族叙事空间的拓展与塑造而言,“边地小说”对国家民族叙事中的现代性权力结构复制,通过超然的叙事者,暧昧的价值态度,使得“边地的边地”的故事,复制了西方/中国的权力关系,成为中国国家民族想象内部,建构现代性关系的一种方式。对“城市中国形象”塑造而言,则是通过“城市怀旧”与“都市新女性”两种策略来完成的。论文以长篇小说《长恨歌》为例,在该小说世俗怀旧神话对宏大历史的虚假对抗性、哲学分析性语言与世俗性语言的缝合与绽裂、“城市史诗”内在悖论、小说的“空间阴性化”价值形态四个特点之中,总结其“怀旧化”城市中国形象塑造的得失。对“都市新女性”而言,论文以《上海宝贝》为例,寻找其在个人化表述、消费文化与宏大叙事间暧昧的缝合策略,阐释1990年代语境“变形”的宏大表述。对“异域中国的想象”,本论文则通过《曼哈顿的中国女人》、《乌鸦》、《扶桑》等作品分析,通过“国家民族主体”与“他者”的三种想象关系:“征服”、“羞辱”和“平等”,女性自恋、女性自虐与他者得女神三种主体塑造方式,来考察这个想象过程。就国家民族叙事时间记忆层面复活而言,则强化了对传统文化的吸纳和整合。这种传统记忆重生,使很多原本在启蒙批判、阶级革命中被压抑的传统文化信息得到释放,不但使现代性的构成,更加丰富与多样化,且使前现代、现代与后现代文化的并置,更为明显。在宏大叙事话语形态中展现出新的中国特色。该论文通过《白鹿原》、《九月寓言》等长篇小说,在“现代视野下乡土中国时间体验的儒家宗族文化”、“另类诗性传统记忆的复活:在野地和海洋之间”等切入角度,分析了传统记忆复活的形态及其危机。最后,该论文又进一步说明了西方意义下的后现代小说形态,以及其缺陷。论文指出,宏大叙事,作为一种人类思维方式,并不能简单以解构或消亡论,就可以消除。它是人类“获得认可欲望”的一种现代标识。同时,1990年代小说宏大叙事形态,也深深影响了新世纪中国小说的表述方式,使得中国现代性宏大叙事,正在发生着新的变化。更多还原

【Abstract】 "Grand narrative" is the interpretation of novel words, one of the 1990s. The "grand narrative" of understanding, a direct impact on the history of literature since the 1990s look, the overall framework and the internal assessment criteria. However, the use of the concept, content, limitations in the complexity of contemporary China to generate a state of significance, we still lack a clear understanding.Grand narrative theory, first of all, the introduction of Western post-modern philosopher, the term shows original meaning refers to the integrity of grand myth of modernity.Lyotard to liberation and enlightenment philosophy is divided into two types of thought. The liberation of the Enlightenment narrative, the main is the people, with the aim of freedom of religion and humanity from feudal autocracy in the emerging, modern nation-state has been established. Speculative narrative, it is a philosophical way of thinking, but also knowledge and rationality, the pursuit of scientific legitimacy of the discourse strategy. The concept of grand narrative, with the thought of post-modern deconstruction of the modern way of thinking came into being, the original meaning of the negative strong sense that there exist in the interpretation of much controversy. To literary theory, sociology and other disciplines extension, the post-modern thinking on the "grand narrative" of understanding, more of a certain bias - in particular, to explain the theory in the Third World when the national culture. On the Chinese context, the concept of grand narrative associated with post-modern theory, in the late 80’s landing in China, and the rage in the 1990sOn its interpretation of both literary and art circles in favor of a new phenomenon, but also resulted in multiple "misreading" theory to explain and divorced from the actual literature, but also affect the direction of literary criticism, and the writer’s creative mindNovels of the 1990s, we have a literary history of the common-sense knowledge to judge that "the dissolution of grand narratives." However, the value of what the grand narrative, grand narrative fiction of the 1990s, the legitimacy of the 1990s, the novel is the dissolution of grand narratives and disappeared, as well as how the dissolution of grand narratives, such as how to establish multi-narrative, there is also a lack of academic weight of the research monographs.I think that the premise of the present theory, the grand narrative, should be seen as a human way of thinking, a kind of structural factors, rather than "either-or" nature of factors. Covering the community as a whole grand narrative authority, in the 1990s has become the disintegration of China. However, as the development of modernity, the latter still made the legitimacy of modern China, the 1990s novel "China’s Grand Narrative," did not end. It in the "pre-modern, modern and post-modern" mixed, "Deconstruction and Construction of" mixed, "the myth of the individual" and "collective image" of the space of mixed circumstances "renewable difficult." At the same time, this process is also thinking of the Enlightenment, the state of national consciousness, revolutionary consciousness to different types of grand narrative "ambiguous integration" process, full of collisions, grafting, collage and integration, and show differences alone, "with Chinese characteristics."In the introduction part of the previous articles, first of all, I sort of grand narrative theory of the concept of generation, as well as around it generated controversy. Here, I emphasize two points. First, under the post-modern theory of the meaning of the concept of grand narrative, and the other is pointed out that the emergence of this kind of deconstruction of the "grand narrative" semantic defects. Secondly, I studied with the modern grand narrative of the novel combination of process and analysis of the grand narrative of modern fiction aesthetic factors. It not only can be described as the essence of the classic novels of modern form, it can also be a structural element; It is not only thinking of the meaning of the novel, the novel theme, the novel techniques, the aesthetic style of the novel, is a constitutive narrative strategy. Third, I learned from the whole to re-identify the 1990s the Chinese novel features of grand narrative. First, the 1990s novel of the grand narrative of the triple misreading, that is great with the individual’s confrontation, the end of grand narrative, deconstruction and construction of opposition; Second, the 1990s novel of the literary history of grand narrative logic, it can not fracture sexual; Third, the 1990s grand narrative of the novel form of literary history, that is, dislocation theory and creative, and home of the generation of hybrid integration. These features not only to the grand narrative fiction during the 1990s expressed a certain degree of confusion, but also breed a unique cultural experience with Chinese "Chinese Modernity" grand narrative.In particular, the Chinese novel in the 1990s, there are two very obvious nature of the grand narrative. First, the enlightenment grand narrative, the narrative of State and the nation. Enlightenment narrative, after the late 80s, early 90s after a brief confusion, and limited in the reflection of the principle of the individual, to a new depth of expression of human nature. It can be broadly classified as critical individual, secular nature of the individual and harmony of the three types of individuals. Critical individual in the novel, there is a sense of tragedy and death struggle imagery, the spectator to reflect on the first person perspective, the implied author and narrator, the main characters of the value of convergence is limited to reflect the history of the individual characteristics of the four grand narratives. Images of tragedy and death struggle for the collective singing of the dirge of radical enlightenment. And "first-person perspective to reflect on bystanders," "implied author and narrator, the main characters of the value of the convergence of" dual narrative strategy, then on the one hand, marks the "dictatorship of the feudal power of reflection" and "reflection on the Enlightenment" At the same time, both in novels such critical; On the other hand, the Enlightenment that these critical stories, characters, author and narrator in a relatively equal relationship, the remodeling efforts of rational enlightenment.In the secular nature of the individual novels, there is the paradox of revolution and the secular, female identity and cultural power of secular interpretation difficulties, the main anxiety humorous secular grand narrative in three manifestations; secular individual narrative deconstruction of the revolution, along with the secular myth of individual generation. However, the revolution in "Metonymic adolescent," "revolutionary terror and segmentation idealism", such as strategy, has become the spirit of nostalgia and ambiguous market integration, which will subvert the impulses and the disintegration of one of treason. Female identity and power to build, but also the diversion of consumer culture and rewritten under the internal crisis facing. Secular nature of humor and fiction, in the use of "humor" secular individuals find confidence to make "excessive discourse" of anxiety, time to block the completion of the main.Harmony of the individual novels, there is to enhance the aesthetic of everyday life, ethics, the United States and Utopia, fictional history Lightness tendency to imagine the three grand narratives. Harmony of the individual stories of the day-to-day experiences "to enhance and reflect the aesthetic of" one of its strategies to show a novelist of the 1990s the United States and return to a harmonious aesthetic; ethical utopia in the light of the United States, "the Enlightenment" and "traditional beauty" when , clever show "circumvention of ideology"; and fiction from a historical fiction to historical change, "Lightness" of the classical imagination, in the vanguard of the transition, some will be enlightening to the internal crisis of popular stories.At the same time, I have to, "Yu Hua’s Novels two transition" and "Wang Xiaobo novel revolutionary + love" for the case, further analysis of the Enlightenment grand narrative in the "deconstruction" and "build" and Purchase, "pre-modern, modern, post-modern "mixed cases, the possibility of new difficulties with the presentation. Yu Hua from negative grand narrative, to recognize the secular nature of the Enlightenment, to blunt the return of grand narrative, part of a profound enlightenment to verify the internal logic of narrative fiction. As "the literary scene a few different," Wang Xiao Bo rewritten "Revolutionary Love" novel mode of reconstruction of the relationship between revolution and love, the relationship between sex and love, the relationship between men and women so as to effectively reflect the collective enlightenment of the disadvantages of publicity the spirit of individual freedom, the legitimacy of the desire, wisdom and creativity, protruding the Enlightenment principle of limited individual.Narration of the State and the nation, the 1990s novel is an important characterization of grand narrative. On its overall characteristics, the 1990 novel of the State and the nation’s most distinctive feature of narrative is the "cultural renaissance in modern China." This is the second since the 54 "He’s Enlightenment anxiety," "founding myth", the country and the nation of the core substance of the new narrative. This connotation has first emerged in the 1980s, and continued development in the 1990s. "Cultural Renaissance of Modern China", on the one hand, and continued the narrative of the modern State and the nation of the quality of the main modern country and the nation for its central task of shaping; On the other hand, has to some extent, overcome, "he who enlightenment" on the shelter local traditional culture, as well as the "founding myth" of the revolutionary class consciousness to rewrite the nation and people. At the same time, the emergence of this characteristic, but also the 1990s, China’s national narrative, a more subjective and open to allow the countries national consciousness narrative with the revolution, the Enlightenment criticism, popular consumer culture in order to "mixed" and "juxtaposition" approach integration. Specifically, the idea of State and nation during the 1990s narrative fiction a "dream of modern powers," the national epic with "culture epic" narrative of two tendencies. "Modern power dream" of the national epic, is the continuation of the reform of the 80’s novel, the new ideology of the mainstream art grand strategy, subordinate to a "cultural renaissance in modern China" design. The theme of this new scale, so that the mainstream ideology of literature and art, go with the trend of the times, in the "socialist market economy" ideology, norms, and adjustments and integration, and generate the "main theme of the novel", this particular grand narrative aesthetics of the novel. This "highlights the main, to accommodate multi-factor" of the narrative strategy, a mix of political interests, the revolutionary narrative, nationalism ideology, the Enlightenment of the public consciousness and awareness of popular consumption.It is the core of the national consciousness around the country, formed by the near to far, both the core values and the mixed and open architecture of the concentric circles. Effective integration of the main theme of narrative is not only a variety of novel type (that is, the new reform of the novel, the new military fiction, new realism novels, novels officialdom), and in each type of internal, but also have a copy of this form of stable structure.Third, on the "epic of national culture" is concerned, the State and the nation narrative, epic poetry from the Enlightenment and revolution break out in the founding epic of the "cultural renaissance in modern China" theme, Epic expanding the space and time to build, creating the modern novel the main body of the epic. Sense of space in the narrative, it is the performance space for the expansion of the original narrative, and a new generation of narrative space. In the narrative of time, time and memory performance for the revival of national culture. China’s national narrative, with the passage of the two ways, broke the "Other Enlightenment," "the founding myth of class" culture of passivity, showing a unique experience of modernity.Narrative on the State and the nation and shaping the expansion of space, "the borderland novel" The Narrative of the State and the nation in the modern copy of the power structure, through the narrator aloof, ambiguous attitude toward the value, making "the borderland borderland," the story of, copy the Western / Chinese power relations become internal to imagine the nation and people of China to construct a modern way of sexual relations. The "image of urban China," in terms of shape, it is through the "old city" and "City of New Woman" to complete the two strategies. Thesis novel "Everlasting Regret" For example, in the old myth of the secular story of the grand history of false confrontational, philosophical analysis of language and the secular language of suture and split split, "City epic" inherent paradox of fiction " negative space "of the value of the four characteristics of shape, and summed up its" nostalgia "of the city’s failure to shape China’s image. The "new urban women", the thesis of "Shanghai Baby," for example, to find its expression in the personal, consumer culture and the grand narrative of the suture between the ambiguous strategy, explain the context of the 1990s, "deformation" of the grand statement. Of "exotic imagination of China", the paper by the "Manhattan of the Chinese woman," "The Crow", "FuSang" and other works of analysis, through the "national ethnic subject" and "Other" to imagine the relationship between the three: "conquer", "humiliation" and "equality", narcissistic women, women who self-flagellation with him to shape the main goddess of the three methods to study the process of the imagination.National narrative on the national level, the revival of memory in terms of time, the strengthening of traditional culture to absorb and integrate. Rebirth of the traditional memory, so that was a lot of criticism in the Enlightenment, class revolution in the traditional culture was suppressed the release of information is not only the composition of modern and more rich and diversified, and so pre-modern, modern and post-modern culture and home, even more apparent. Narrative Discourse in the form of ambitious new show with Chinese characteristics. The paper through the "Bailuyuan", "September’s Fables," and other novels, in "Modern View of China’s time to experience local clan of Confucian culture", "alternative tradition of poetic memory of the resurrection: and oceans in the wild" and into the point of view analysis of the revival of the traditional form of memory and its crisis.Finally, the thesis thinks that the grand narrative, as a human way of thinking, and not easy to deconstruct or extinction of, we can eliminate. It is the human "desire for recognition" of a modern logo. At the same time, 90 during the grand narrative of the novel form, but also a deep influence on the new century Chinese novel way of expression, the Chinese grand narrative of modernity, is undergoing new changes.更多还原