不是之是——李锐小说研究

【作者】 李彦文；

【导师】 张志忠；

【作者基本信息】 首都师范大学 ， 中国现当代文学， 2009， 博士

【摘要】 在中国当代作家中,李锐对全球化带来的文化淹没具有清醒的警惕和反思意识。李锐彻底的反思性不仅在很大程度上决定了他文学写作的题材和形式,而且使他的小说创作表现出两两相对的对偶式互文关系,在一部小说或小说集完成之后,他会从相反的角度再次书写,其结果就是后一部小说成为前一部小说的续完和补充。李锐在《厚土》和《太平风物:农具系列小说展览》这一对小说集中,呈现了乡土中国和中国农民在前现代和现代化中的双向煎熬。在《厚土》中,李锐背离了农村题材小说和田园诗小说的写作方式,把中国农民安置在非现代、去田园化的永恒时空和支配/服从的权力关系结构之中,运用“滴——滴”式叙事结构、重复叙述手法与限知视角,呈现了中国农民世代被捆缚的生存处境和复杂难言的内心体验。在《太平风物:农具系列小说展览》中,李锐对后现代的“超文本拼贴”做了反转式运用,呈现了现代化进程中中国农民的伤痛、愤怒和希望。前现代不是中国农民的乐园,现代化也不能为他们提供美好的前景。在《无风之树》和《万里无云》这一对小说,李锐借鉴福克纳的多人第一称叙事方法,创造性地拆解了知识分子与民间大众之间的知识等级关系。李锐的“文革”叙事不是道德化的,也不是知青式的“拒绝忏悔”,而是从民间的愚昧和迷狂、知识分子的非反思性、“文革”意识形态的现代特征三个层面反思“文革”,达到了相当的深度,他对知识分子与民间复杂的观看、质疑、拒绝、收编、神化等关系的叙述,是对五四以来的隔膜主题的深化。在《旧址》和《银城故事》这一对小说中,李锐自觉背离了革命历史小说的叙述模式,他通过时间设置拆解了进步历史观,以历史力量的多元化和频繁的视角转换表达了文化相对主义立场,以圈套和死亡、偶然性和不可知解构了“历史脚本”论。李锐的历史观介于批判历史哲学和叙述主义历史哲学之间,是一种中国式的悲伤意识。总之,李锐以自觉的中国作家的身份进行的小说写作,是他作为中国作家同第一世界的文化淹没进行的“生死搏斗”,也是他作为当代作家对前辈作家的写作模式的反思和疏离,是由他的全部独特性构成的迥异于其他作家的“不是之是”。更多还原

【Abstract】 Among contemporary Chinese writers, Li Rui has demonstrated a sober vigilance and reflection of the engulfment of cultural globalization. His radical reflectiveness not only determines the themes and forms of his literary works to a large extent but also gives rise to the form of paring intertextuality in his fictional writings.In the pair of works of Thick Soil and Peaceful Landscape: An Exhibition of A Series of Farming Tools Stories, Chinese peasants are portrayed as suffering from the double torments of premodern conditions and modernization. In Thick Soil, Li Rui deviates from the traditional rural novels and pastoral novels and relocates Chinese peasants in an eternal time-space and a power structure of dominance/submission that are neither modern nor pastoral. By employing the“tick-tick”rather than a“tick-tock”narrative structure, as well as repetition and limited viewpoint, the novella presents both the living conditions in which Chinese peasants have been bound for generations and their complicated and ineffable inner experience. In Peaceful Landscape, Li Rui reverses the hypertext collage of postmodernism and describes the pain, rage, and hope of Chinese peasants in the process of modernization. Just as the premodern era is not a paradise for Chinese peasants, modernization could not offer them a promising prospect either.In another novelistic pair of Trees without Wind and Cloudless Sky, Li Rui creatively dissolves the hierarchical relationship between intellectuals and the mass by drawing on William Faulkner’s multiple first person narrative. Li Rui’s narratives of Cultural Revolution adopt neither a moralistic stance nor a posture of“refusing to regret”assumed by some intellectual youth. Rather, he offers a penetrating reflection of Cultural Revolution from the triple levels of mass ignorance and fervor, intellectual unreflectiveness, and the modern characteristics of revolutionary ideology. His narration of the complex observation, interrogation, denial, co-optation, and mythologization between intellectuals and the mass deepens the theme of alienation since May Fourth movement.In the novelistic pair of Old Site and Story of Yincheng, Li Rui deliberately breaks away from the narrative mode of revolutionary novels. He dissolves the progressive view of history through time setting and articulates a position of cultural relativism through multiplying historical forces and frequent shifts of point of view. He also deconstructs the argument of historical script through traps, death, contingency, and uncertainty. Li Rui’s view of history lies somewhere between critical historical philosophy and narrative historical philosophy and is characterized by a Chinese style of“melancholy.”To sum up, Li Rui’s fictional works, written with a conscious Chinese identity, engage in a“battle of life and death”with the culture of the First World and exemplify his reflection on and distancing from earlier mode of writing. The totality of his uniqueness constitutes the positive of the negative that distinguishes him from other writers.更多还原