【作者】 黄林非；

【导师】 罗成琰；

【作者基本信息】 湖南师范大学 ， 中国现代文学， 2009， 博士

【摘要】 在中国现代文学史上,“理性"始终是一个关键词,围绕着这一词语所展开的相关理论表述与创作实践,构成了一个有迹可循、延绵不断的话语体系——“理性话语”。现代中国的这一核心话语的构建历程,不仅凸现着中国现代文学的审美品格和价值取向,而且也有效地、结构性地规约着其生产动力、运作机制以及主题追求。与之密切相关的是,“理性”一词也是自二十世纪八十年代以来在中国现代文学研究范围内被广为运用的概念。以理性概念介入对文学现象的阐释和评论,是中国现代文学研究走向深入的一种表征,但在考量中国现代文学的理性精神的进程中也存在着诸如概念的含混不清、逻辑的自相矛盾、视野的狭隘和思维方式的僵化等学理问题。有鉴于此,本文抓住“理性”这一与中国现代文学有着复杂而深刻联系的关键词,运用实证和话语分析的方法,在“理性”的指称意义与评价意义的张力结构中对中国现代文学的理性精神作了整体的观照和深入的探讨。全文共分六章。引论部分包括“缘起与意义”、“问题与方法”以及“逻辑原点的确立”三个层次,梳理了中国现代文学中理性话语的行进轨迹,指出了以往的相关研究中存在的不足,并提供了考察中国现代文学理性精神的原则性框架。本文认为文学的理性精神应该从文学与大理性的相关性上作考虑,合理性是外于文学的。这就不仅纠正了目前学界常见的将中国现代文学的理性精神作合理性理解的偏误,也为中国现代文学之理性精神的论证提供了一种理论方案。中国现代文学的理性精神包括文学具有深度思想的功能、文学写作过程需要被看护、文学具有向上超越的性质、文学提供乌托邦,为人类保留理想等要义。只有在这一个合法的范围之内进一步开掘,才可能切实把握中国现代文学理性精神的具体内涵,发现和总结中国现代文学的规律性经验,为当下的文学创作提供有益的启示。在联系西方哲学中的“理性”和中国传统哲学中的“理”,考察“理性”一词在现代中国的话语实践,从语用、语义的层面对中国现代文学史上的“理性”作出仔细辨析的基础上,第三章至第六章展开了对中国现代文学理性精神的探寻。首先,从文学的功用观入手,以王国维、周氏兄弟和早期创造社主要成员为考察对象,探究中国现代文学中“不用之用”的康德式命题所透射的理性精神。王国维反对文学上的功利主义,强调文学的独立性,把文学当作人类形而上之思的合法领域,因而在对文学的理解上表现出与理性的超越性、上升性特征的高度洽适。这使得中国现代文学在凸显着强烈的合理性冲动的同时,又在王国维美学思想的烛照之下,延绵隐现着一种以超越性为特征的理性精神。王国维的理论努力导致中国传统的文学观念发生了一个历史性的大转折,其美学思想开启了中国现代文学的理性之维。鲁迅与周作人在留日时期的文学观均表现出重视文学的独立性和超越性的鲜明特色,而在民族主义思想的统摄之下,他们关于“心声”和“国民精神"的言说又都暗含着为文学寻求实用功效的合理性取向;文学革命进程中,他们以携手致力于“思想革命”的方式在文学立场上互相呼应,其文学观在理性精神与合理性冲动之间交错调整,且开始出现难以弥合的理论鸿沟;至二、三十年代,鲁迅的文学观日益凸显出无可抑制的合理性冲动,而周作人更加坚决地强调文学的超越性、独立性,倡导文学的理性精神,这导致周氏兄弟在文学观上最终分道扬镳。从早期创造社的美学倾向来看,以往学界对早期创造社文学观念所作出的“反理性”的论断是仓促而简单的,事实上,早期创造社的主要成员郭沫若、成仿吾、郁达夫等人的美学倾向中包蕴着鲜明的理性精神,这种理性精神同样可以在其“不用之用”的美学命题与康德的“鉴赏的二律背反”原则的深层联系中得以还原和呈现。不过,由于科学理性对早期创造社骨干分子的浸润性影响及其文学观念中普遍存在的主体性偏执,其美学建构中已经包含着令文学理性精神全线溃败而迅速走向合理性的潜在可能。其次,中国现代文学整体上呈现出理性精神与合理性冲动的抗衡。合理性是一种开拓性、工具性的理性,它追求确定性、可控性、有效性,功利性,所以它在本质上是不合于文学的。现代中国的主流文学所表现出的强烈的合理性冲动经历了五四文学革命、写实主义思潮和无产阶级革命文学三个历史阶段,其历史渊源可上溯至梁启超的改良主义文学观,其现实依据是对社会政治情势的关切与回应,其学理动因则是科学理性对文学领域的骚扰和入侵。文学的理性精神本应展现出理性的超越性、上升性的一面,因此,现代中国的主流文学之呈现明显的合理性冲动也就意味着其理性精神的严重缺失。与此同时,作为另一股重要的文学力量,学衡派、新月派和京派都曾明确地将“理性”作为衡量、评价文学现象的重要标尺,他们的理论倡导和创作实践具有明显的家族相似性,在其寂寞且艰难的美学建构中,节制情感和表现人性是贯穿始终的两个主要构成要素。他们以道德论和形式论为基本的着力点,对中国现代文学的合理性冲动提出了质疑,高扬了文学的理性精神。复次,注重文学的道德性是对文学理性精神的维护。在新旧对立的语境中,学衡派对将文学和道德作进化论理解的流行理论提出了批判,他们注重文学的道德性,认为文学的最高境界是与“善”相通的,文学虽然不等同于道德,但它引人向上,提升人的精神境界,提供乌托邦式的人生道德理想。这种对文学审美性和道德性并重的观念自觉地将传统意识中的理念型道德作了泛化和超越性、普遍性的理论转换,既体现出对当时社会道德无序状况的忧虑,更是对文学的道德性问题的严肃认真的学术考量,蕴含着从终极之处看待艺术和道德的深邃思路。作为新人文主义者的梁实秋和作为纯文学倡导者的朱光潜两人都在坚持文学审美性的前提下肯定文学的道德性,但他们对文学的审美性与道德性的提倡各有侧重:梁实秋强调文学的道德性,但存在着站在伦理的立场上看待文学的审美性的倾向,他担心过分强调文学的审美性会导致文学走向颓废的歧途;朱光潜则担心对道德性的过分强调会伤及文学的美,因此要求将道德看作审美观照的对象,用美去包容善。此外,沈从文“重造民族品德”的文学理想来自他对民族“堕落”的严重现实的深沉忧患,也是从学理上对文学理性精神的坚韧思考和坚决倡扬。这一理论构想包含了对现实社会道德状况的评估、对文学外部生态环境的批判、对创作主体的人格与态度的要求、对审美教育问题的思考以及对用文学改造民族品德之可能性的论证,并由此而形成了一个逻辑清晰、层次分明的系统。最后,从理性对诗性的看护这一视角讨论中国现代文学的理性精神。文学需要一种看护性的操作理性,因为文学不可能自动完成。这就是说,作为一种写作行为的文学,它需要一种应用中的智慧,以便使创作主体在这一行为进程中保持一种倾听、领会和能控制的状态。这时,理性在文学领域中的任务就是调控语言操作的技术,以保存想象力活跃的场景,而且看护不可言说者。因此,文学革命初期的诗体大解放虽然为中国现代文学的发展提供了强劲的推力,为新文学注入了新鲜的血液,使新文学呈现出跃动的生命气息和清新的艺术气质,但若将摒弃形式的观念引向极致,势必又将导致“非诗化”的形式虚无主义的极端。在写作中的随意放纵、率性而为的做法则意味着理性进入盲目,显然是不利于文学创作的。新月派诗人凭借着清醒的“形式"意识和艺术“自觉”,对诗体大解放所带来的“非诗化”趋势颇为警惕,他们反对创作中毫无约束的“自由”,看重节奏、音节等诗歌的形式因素,致力于重建现代诗歌体式。京派作家和理论家在这一问题上提出的理论主张及其创作实践也体现出对文学的操作理性的重视,他们在处理梦与现实、无限上升的想象与对现实的清醒认识之间的关系这一问题上,进行了更为深入的探索,他们要求“在限制中争得自由”、强调艺术形式与技巧、将“恰当”作为技巧运用的准绳与归宿。京派在浮躁而粗陋的文化生态环境中注目于艺术与审美本身,在五四新文化运动已经取得的成果的基础之上,对现代中国文学艺术的行进方向作了细致而有意义的内部调整,促进了文学革命以来文艺自身的和谐、成熟与稳定,为中国文学和文化的健康发展作出了重大的历史贡献。更多还原

【Abstract】 Reason remains to be a key word in the history of modern Chinese literature.The theoretical analysis and literary practice based on reason have constituted a traceable and consecutive discourse system,that is,the discourse of reason.The construction of this essential discourse is a process which reveals the aesthetic character and value judgment of modern Chinese literature and which effectively and constructively defines its creation dynamics,mechanism and subject matter.In close connection with the literary creation,Reason is a widely used concept in the modern Chinese literary study.The introduction of the reason concept into the study of literature is an embodiment of the intensification of the study of modern Chinese literature.Nevertheless,a review of the former studies on modern Chinese literature based on the reason spirit betrays such problems as vague concept,self-contradictory logic,narrow vision of field and rigid way of thinking.Thus,this dissertation focuses on the key word reason which has complex and close connection with the modern Chinese literature.It makes an overall investigation into the spirit of reason of modern Chinese literature by the use of empirical method and discourse analysis and in the tense structure of referential meaning and evaluative meaning of Reason.This dissertation consists of six chapters.The introduction of this dissertation includes origin of choosing the topic and its significance,problems and methods,the establishment of logic basis.It retraces the development of the reason discourse in the modern Chinese literature and points out the inadequacy in the former studies on reason and provides a principal framework for investigating modern Chinese literature.This dissertation maintains that the spirit of reason should be approached from the correlation of literature and Reason and that Rationality is outside the confines of literature.This not only corrects the mistakes in the literary circle of rationalizing the spirit of reason of modern Chinese literature but also provides a theoretical base for illustrating this spirit.The spirit of reason of modern Chinese literature includes the following main ideas:literature has the function of providing profound thoughts;literature provides the Utopia to keep up ideals for humankind.We can grasp the connotation of the spirit of reason of modern Chinese literature and discover and summarize the law of modern Chinese literature to provide nutrition for the literary creation only within the legitimate confines of these main ideas.By connecting the concept reason in western philosophy with Li in the traditional Chinese philosophy,by investigating the discourse practice of the word reason and the details of Reason from syntactic and pragmatic levels,the chapters from three to six probe the spirit of reason in the modern Chinese literature.First,the dissertation begins with the function of literature.It focuses on Wangguowei,Zhou brothers,the early Creation Society to probe the spirit of reason reflected in the Kantian disinterestedness of modern Chinese literature.Wangguowei opposes the utilitarianism of literature while emphasizing its independence.He regards literature as the legitimate province of the metaphysics of humankind,thus his understanding of literature has affinities with the transcendence and ascendancy of reason.This makes modern Chinese literature possess a spirit of reason with transcendence as its characteristic when it also has the rationality impulse.Wang’s effort in theory makes historical turn in the ideas of modern Chinese literature.That is to say,his aesthetics ushers in a reason dimension for modern Chinese literature.When they studied in Japan,both Luxun and Zhou zuoren’s outlook on literature have exhibited salient feature of attaching importance to the independence and transcendence of literature.Under the unified idea of nationalism,their thoughts have also implies the rational tendency of seeking utilitarianism for literature.In the process of literature revolution,they interact with each other in their literary stance by way of ideological revolution. Meanwhile,their outlook on literature reshapes because of the tension between the spirit of reason and rational impulse,resulting in an unbridgeable theoretical gap.In 1920s and 1930s,Luxun’s outlook on literature increasingly exhibits a strong rational impulse wheras Zhou’s puts more and more emphasis on the spirit of reason of literature,that is, its transcendence and independence.As a result,they follow contrary path in their respective outlook on literature.Judging from the early aesthetic tendency of the Creation Society,the former assertion by the literary circle that the outlook of this Society is anti-reason is simple and hasty. As a matter of fact,the major members of this society,Guo moruo, Chengfangwu,Yudafu have manifested the spirit of reason in their aesthetic tendencies.Their spirit of reason can also be embodied in the deep relationship between their disinterestedness and Kantian interPretation paradox.Nevertheless,owing to the influence of scientific reason and the subjective obstinacy in their literary thoughts,their aesthetic structure has contained the potential of frustrating completely the spirit of reason.Second,modern Chinese literature on the whole presents a contradiction between the spirit of reason and the rationality impulse. Rationality is an opening,instrumental reason,which aims for determinacy,regulation,effectiveness,utilitarianism.Therefore, rationality is not in harmony with literature.The strong Rationality impulse as shown in modern Chinese literature has undergone three historical stages:May 4^th literature revolution,realism trend, revolutionary proletarian literature.The origin of Rationality impulse can be traced to Liang qichao’s literary idea of reformism.The theoretical reason Rationality impulse of can be attributed to the intrusion of scientific reason into literature.The reason of literature should have manifested itself in the aspect of the transparency and ascendancy of reason.The strong rationality impulse means the serious lack of the spirit of reason.Meanwhile,as another important literary force,The Critical Review School,Crescent School,Beijing School all expressly take reason as the criterion for evaluating literature.Their theory and literary practice have an obvious familial similarity.Restraint of emotion and representation of humanity are two major components of their solitary and hard aesthetic construction.Starting from morality and formalism, they question the Rationality impulse and uphold the spirit of reason of literature.Thirdly,to value morality is to advocate the spirit of reason of literature.In the context of the conflict between new and old,The Critical Review School criticizes the popular theory of evolving literature and morality.They emphasizes the morality of literature,believing that the highest level of literature is closely associated with good and that literature,although not identical with morality,can be uplifting and offer people with a moral utopia.These thoughts of emphasizing both the aesthetics and morality of literature have generalized and made transcendent and pervasive changes in the traditional Idea morality.They show their concerns about the disorder in social morality and do serious thinking about the problem of the morality of literature.They are a profound way of thinking,treating of art and morality from the ultimate. Liang shiqiu,a new humanist,and Zhu guangqian,an advocate of pure literature,assert the morality of literature while they advocate aesthetics of literature.But they also differ in their theoretical bias.Liang shiqiu puts emphasis on the morality of literature.Yet he tends to see aesthetics of literature from the standpoint of ethics,worrying that too much emphasis on aesthetics will lead literature into a decadent direction.By contrast,Zhu guangqian fears that too much emphasis on morality will destroy the beauty of literature.He thinks that morality should the object of aesthetic concern and that beauty should embrace good.In addition, Shen congwen’s literary ideal of reshaping national character comes from his deep concern about the serious reality.It is also a tireless thinking and determined advocate of the spirit of reason of literature.This theoretical conception includes the evaluation of the morality of the society,the criticism of the outer living environment of literature,the requirement for the creative subject,and thoughts on aesthetic education and the possibility of using literature to improve national character.It has formed a coherent and logic system.Last,this dissertation discusses the spirit of reason of modern Chinese literature from the perspective of supervision of reason to poetics. Literature requires a practicable reason of supervision because literature can not accomplish by itself.That is to say,literature as a creative act requires wisdom in practice so that the writing agent can maintain a state of listening,understanding,and mastering.Now,the task of reason is to monitor the technique of language use to keep alive imagination and supervise the unspeakable.Therefore,although the liberation of poetics in the early stage of literary revolution has strongly pushed forward the development of modern Chinese literature,injected new blood into the new literature,making the new literature vigorous and fresh,the rejection of form,if carried to extreme will leads to the extreme of form nihilism. The willful and reckless writing free from reason is obviously harmful to literary creation.The poets of Crescent School,having clear-minded form consciousness,are alert to tendency of non-poeticizing in poetry revolution,opposed to unchecked freedom in creation.They lay stress on the formal elements such as rhythm and syllables,devote themselves to reconstructing the system of new modern poetry.The writers and theorists of Beijing School in their theory and practice show their emphasis on practicable reason,probing deeply into the relationship between dream and reality,wild flights of imagination and reality.They demand freedom in fetters,lay stress on art form and technique,take propriety as the criterion and the end of using technique.Beijing School focuses on art and aesthetics.On the basis of the achievements of May 4^th New Cultural Revolution,it makes detailed and significant rectification of the direction of modern Chinese literature and contributes to the harmony,maturity, stability of literature and art,contributing greatly to the wholesome development of literature and culture.更多还原