【作者】 张舟子；

【导师】 孙先科；

【作者基本信息】 河南大学 ， 中国现当代文学， 2009， 博士

【摘要】 新文学是在西方文学的直接影响下产生的,小说创作更是受到西方小说的明显影响。建国以后,现实主义创作方法逐渐定于一尊,典型人物、典型环境成了小说创作的重要甚至唯一追求。在评论当代文学尤其是当代小说创作时,中国传统文论一度失语。但是,民族传统从来就没有也不可能停止对文学创作的影响。三十年代,京派作家的创作就明显受到中国古代文学抒情传统的影响。建国以后,京派文学虽然一度淡出了文学史叙述,但是,以沈从文为代表的京派文学仍然对一部分作家发生着潜移默化的影响,并使这些作家通过京派文学,有意识地继承中国传统文学的丰厚遗产。正是在这样的背景下,新时期以来,当大部分作家致力于向西方文学学习艺术经验的时候,以孙犁、汪曾祺为代表的一批作家,却创作了数量不菲、深受传统文学艺术影响、尤其是受到传统笔记小说影响的小说。这些创作使传统文学的影响在八十年代由潜流再度变为一股文学创作的明显潮流,并产生了一定影响。这些小说被一些评论家和读者称为笔记体小说或新笔记小说,并得到了一部分作家认可。新笔记小说形成了八十年代文坛上一个独特的景观,不仅取得了突出的成就,产生了一些优秀的作品,而且为中国文学如何继承传统做出了有益的尝试,其中的经验教训,都值得认真总结。但是,对新笔记小说的研究,与新笔记小说的创作成就和影响却显得不太相符,新笔记小说还存在广阔的研究空间。论文分绪论、正文和结语三个部分。其中,正文又分为上、下编,上编四章为个案研究,下编三章在个案研究的基础上对新笔记小说进行综合研究。绪论首先对新笔记小说创作概况进行了描述,指出新笔记小说已经成为新时期文坛上一个无法忽视的创作潮流,产生了一定影响,完全有深入研究的必要。接下来,对新笔记小说的艺术资源进行了简要的梳理。新笔记小说之所以被称为“新笔记小说”,最重要的原因就是它直接继承了中国古代笔记小说的艺术传统,但是,新笔记小说对传统的继承并不局限在笔记小说,不同作家还从中国传统散文、诗歌、史传作品、书法、绘画以及戏曲中程度不同地吸收了艺术营养,在此基础上形成了鲜明的民族风格。因此,本文将新笔记小说界定为:新笔记小说,是指上世纪八十年代,以孙犁、汪曾祺、林斤澜等为代表的一批作家,在继承中国文言短篇小说艺术传统的基础上,借鉴诗歌、散文、史传作品、书法、绘画及戏曲等的艺术经验,使用白描手法,努力追求意象、意境、神韵等具有东方特色的审美效果,创作的具有鲜明民族特色的短篇小说。最后,对新笔记小说的研究现状进行了梳理,并对论文的结构和研究方法做了简要说明。上编选择了四位有代表性的新笔记小说作家孙犁、汪曾祺、林斤澜、贾平凹,对他们的新笔记小说做了深入研究。“民族传统的多重影响”一章,主要探讨了孙犁对传统文学的继承和借鉴。首先,研究了孙犁进城后大量阅读中国古典文学对其把握生活和表现生活方面的影响,然后,从实录精神、理性追求、道德评价及叙事特点几个方面探讨了孙犁八十年代创作的“芸斋小说”的民族风格。“‘回到民族传统’的小说创作”一章,首先研究了汪曾祺的童年经验与在传统家庭中形成的传统文学素养,然后,从小说的选材、小说语言的文化内涵和“文气”追求以及小说中的艺术意境几方面研究了汪曾祺的新笔记小说的民族风格。“笔记与诗魂的交融”一章研究了林斤澜《矮凳桥风情》的民族风格。首先,结合林斤澜五十年代的创作,研究了在八十年代,林斤澜逐渐突破建国以来已经僵化了“现实主义”文学观念,开始主动寻求民族传统的努力,然后从语言、结构、审美追求几个方面对林斤澜《矮凳桥风情》的民族风格进行了分析和总结。“东方美与民族形式的追求”一章则研究比较年轻的新笔记小说作家贾平凹在“商州三录”和《太白山记》中形成的民族风格。贾平凹对民族风格的追求是自觉的,“商州三录”和《太白山记》分别体现了传统美学对“形神”和“隐秀”的追求。最后,论文还分析了贾平凹小说中大量对神秘现象的描写,认为这一方面是贾平凹艺术探索的需要,一方面也反映了贾平凹世界观中迷信的一面。当然,贾平凹用中国传统的哲学眼光看待现实生活时,也对现实生活进行了批评和质疑,这显然包含作家对审美现代性的追求。这四章虽然都是个案研究,但思路同中有异,力求根据每个研究对象自身的特点,最大限度的贴近研究对象的创作实际,分别侧重论述了这些作家在创作中对中国传统文学所追求的意象、意境、文气、空白、隐秀等审美范畴的追求,并分析了这些作家在创作中对传统思想、道德的认同。下编分为三章,分别从审美范畴、作家的主体精神以及新笔记小说的文学史意义几个方面对新笔记小说继承中国传统文学艺术的创作成就及文学史影响进行了综合论述。“美的显现”一章,从白描、风骨、轶事、理趣及意象等几个新笔记小说作家普遍追求的审美范畴进一步探讨了新笔记小说的审美追求。“精神之维”一章,则对新笔记小说作家的精神世界、生命意识以及审美关照的方式进行了讨论,论述了新笔记小说作家的传统人格对其创作在内容、风格及把握世界的方式方面带来的影响。“历史回望”一章对新笔记小说在艺术和传统道德方面对传统文学和文化的继承进行了论述,其中,“通与变:新笔记小说艺术上的继承和发展”一节,着重讨论了新笔记小说在继承传统文学艺术方面的成就和不足,“传统美德的弘扬与审美现代性的追求”一节,指出新笔记小说在弘扬传统美德的同时,显然包含了对审美现代性的追求。“结语”在整个研究的基础上,认为新笔记小说在很大程度上复活了传统的审美精神,创作出了一些具有中国风格的作品,对以后的文学创作带来了深远的启示。新笔记小说对于传统文学的继承,无论是成功的经验还是存在的不足,都是一笔弥足珍贵的文学史遗产。”研究方法上,论文注重个案研究和综合研究相结合,注重外部研究和内部研究相结合,一方面注重对作家及其身处的社会文化环境进行研究,一方面注重外部研究和文本内部的实际情况进行对照;同时,努力将对个别作家的研究放在整个创作潮流中,尽量避免以偏盖全,从而使论文的结论建立在坚实的史料基础上。更多还原

【Abstract】 New literature emerged under the direct influence of western literature. It is especially so with novel writing. After the founding of the People’s Republic of China, realism became the dominating mode of writing, which is characterized by the whole-hearted pursuit for typical character in typical environment. As a result, contemporary literature, especially novels, was seen to be largely disjointed with traditional Chinese literary theories. But the influence of the national tradition on literary creations can never be erased. In the 1930s, the works created by writers of the Beijing school clearly show the influence of the Chinese lyrical tradition. After the founding of the PRC, the Beijing school gradually retreated from the literary field, but some writers of the school, represented by Shen Congwen, still exerted subtle influences on writers, who thus consciously inherited the Chinese traditional literature. That is why when most writers were engaged in learning from western literature, a group of writers, represented by Sun Li, Wang Zengqi, produced a large amount of novels which show the deep influence of Chinese traditional literature, particularly note-novels. These works in the 1980s rehabilitated the status of traditional literature to be a significant influence on literary compositions and got some critical attentions. These novels were named by some critics or readers note-novels or new note-novels, which were acknowledged by some writers. The new note-novel was a spectacular scene in the literary world of the 1980s, for its extraordinary literary compositions and its attempts at the way of inheriting traditional Chinese literature, both the achievements and failures during which are valuable. But the study of new note-novels is far from being adequate, considering their distinguished achievements and influences, so there is still a large space to explore about new note-novels.This dissertation consists of three parts, namely introduction, body part and conclusion. The body part is made up of two sections. The first section is composite of four chapters of case studies, on the basis of which the second section conducts comprehensive studies of the new note-novel in three chapters. The introduction starts with a description of the new note-novel and pointing out that it has become a remarkable and influential current in the contemporary literary world. Therefore, it is necessary to carry out a deep study of it. Then, we briefly trace the artistic sources of new note-novel. It was named new note-novel mainly because it directly inherited the tradition of ancient Chinese note-novel. This apart, new note-novels learned from traditional Chinese prose, poetry, historical biography, calligraphy, painting and opera. On the basis of all these, new note-novel acquired distinctive national style.So, we thus defined the new note-novel in the study. Simply speaking, new note-novel, appearing in the 1980s, is the short novel characterized by unique national style. Its representative writers, like Sun Li, Wang Zengqi and Lin Jinlan, aiming at the typically oriental aesthetic effect of image, atmosphere and romantic charm of literary works, wrote in a simple and straightforward style, by inheriting the tradition of Chinese short novels and drawing on the artistic feats of prose, poetry, historical biography, calligraphy, painting and opera. The introduction ends with the summary of the contemporary study of new note-novels and a short explanation of the thesis structure and methodology.The first part focuses on the new note-novels written by the four representative writers, namely Sun Li, Wang Zengqi, Lin Jinlan and Jia Pengwa. The chapter entitled multiple influence of national tradition mainly explores Sun Li’s inheritance of traditional literature. It first studies the influence of ancient Chinese literature, which Sun Li read after going to town, on his understanding and presentation of life. Then, it proceeds to explore the national style of Sun Li’s novels which were written in the 1980s and named after his study Yunzhai, concerning its realistic spirit, ideal pursuit, moral evaluation and narrative feature. The chapter named returning to the national tradition starts with Wang Zengqi’s childhood experiences and his literary attainments cultivated in the traditional family. It goes on to study the national style of Wang’s new note-novels, manifested by their objects, culture-laden language and their artistic atmosphere. The chapter named the fusion of note and poetic soul focuses on the national style displayed by Lin Jinlan’s Customs of Aideng Bridge. Based on Lin Jinlan’s literary creations in the 1950s, this chapter first reveals that Lin Jinlan rebelled against the rigid realistic ideal and actively pursued the national tradition in the 1980s and then uncovers its national style by analyzing its language, structure, aesthetic ideal. The chapter entitled Oriental Beauty and national pursuit is designed to uncover the national style manifested in Three Accounts of Shangzhou and Travels of Taibai Mountain written by Jia Pingwa, the younger writer of this group, who consciously pursued national style. The above two works demonstrates his pursuit for the spirit-imbued form and implicit beauty. It further analyzes Jia’s large amounts of descriptions of mysterious phenomena, which are understood to be out of Jia’s aesthetic exploration on the one hand and his superstitious outlook on the other. It is undeniable that when Jia presented the reality in the light of traditional Chinese philosophy, he criticized and questioned the reality, which shows his pursuit of aesthetic modernity. Although these four chapters are all case studies, they are simultaneously similar and different. Striving to be loyal to the individual features of the objects, they concentrate on these writers’identifications with the tradition in their compositions, particularly in their pursuits of image, aesthetic atmosphere, literary gap and implicit beauty, which are the characteristics of traditional Chinese literature.The second part consists of three chapters, which explore the new note-novel’s inheritance from traditional Chinese literature and its influence on literary history, concerning new note-novel’s aesthetic category and significance for the literary history, and the writers’subjectivity. The chapter named The manifestation of beauty further studies new note-novels’aesthetic pursuits, displayed by their characteristic sketches, anecdotes, images, etc. The chapter entitled the spiritual dimension discusses new note novelists’outlooks on the life and aesthetics, which are seen to be influential on their subjects, styles and presentations of the world. The chapter named looking back on history, explores new note-novels’inheritances from traditional literature and culture, as to the artistic expression and traditional morality. In this chapter, the section on the new note-novel’s inheritance and development discusses its achievements and weak points in inheriting from the traditional literature. The section named Carrying forward Traditional Virtue and Pursuing Aesthetic Modernity points out that it pursues aesthetic modernity when carrying the traditional virtue to a new height.The study arrives at the conclusion that new note-novels revived the traditional aesthetics to a great extent by creating many literary works of typical Chinese style. In so doing, they exerted far-reaching influences on the later literary compositions. In new note-novels’inheritance from traditional literature, both the achievements and weak points are valuable for the literary history.So far the research method is concerned, this study combines case studies with comprehensive studies. Besides, it pays attention to the factors both within and out of literary works. On the one hand it studies the qualities of the writers, and the social and cultural environments in which they find themselves, on the other it compares the outside factors and texts themselves. Meanwhile, it examines individual writers’works in the light of a literary current, so that the conclusion of the study can be more更多还原