从“半侬”到“半农”

【作者】 姚涵；

【导师】 栾梅健；

【作者基本信息】 复旦大学 ， 中国现当代文学， 2009， 博士

【摘要】 本文主要讨论了1913至1934年间的刘半农在中国现代文学发展过程中的意义和价值。这一时期,刘半农以独具个性的文学创作和多方面的文学活动沟通了通俗文学、民间文学和五四新文学,他独特的创作实绩也开辟了中国现代文学的发展道路。本文试图站在新旧文学的转折点上全面评价刘半农的文学成就,分析刘半农对中国现代文学的贡献,以及他如何沟通了通俗文学、民间文学与五四新文学。论文从概述刘半农的生平以及主要著作成就开始,重点讨论、分析了刘半农被研究者忽视的原因,在此基础上阐发本文的内容以及选题的意义;接下来,论文主要围绕刘半农在民国初年(约为1913～1917年)的小说理论和创作,将刘半农早期的小说理论和创作放入具体的历史情境之中,分析其对通俗文学理论的理解及不同于鸳蝴派的创作特点,认为这是刘半农实现第一次“转变”——“跳出鸳蝴派,骂倒王敬轩”的重要前提。由此,论文试图指出,刘半农对文学形式的兴趣及其对通俗文学艺术表达方式的自觉,为他其后转向民间文学寻求新文学的精神资源,奠定了坚实的基础。论文继而详细叙述了1918年刘半农首倡的“歌谣”运动,其意义在于对传统的“另类发现”。本文认为,学习“歌谣”的过程激发了刘半农对诗体变革的浓厚热情,就在这一时期,刘半农彻底脱离了鸳蝴派,尝试着将民间文学、歌谣与新诗的发展联系在一起。其后,论文主要探讨了,“五四”前后刘半农所参与的文学论争以及杂文创作。“实事求是的战斗精神”支撑着刘半农在五四时划成为文学改良的实践者和新文学的建设者,成为新文化的战斗者。直到《语丝》时期,刘半农依然坚持了五四时期的战斗精神。最后,论文尝试讨论了刘半农后期的第二次“转变”。很多研究者都认为,刘半农1921年留学欧洲之后,从新文学阵营渐渐“退隐”。但是,本文认为,直到刘半农和《语丝》关系终结,在《人世间》、《论语》等刊物上发表大量打油诗、文言小品开始,他才与新文学发生了真正的疏离。本文试图探讨的问题是:是什么思想因素促成了他从“战士”到“隐士”的转变?这样的个人选择隐含着怎样的价值观念?除了通常定义的“落后”之外,这样的转变有没有合理性或意义?对刘半农文学创作以及文化活动诸方面的讨论,为我们进一步理解新文学与通俗文学、新文学与民间文学的关系,拓展中国现代文学的研究领域,探寻新文学产生的资源,都有着重要的学术意义。更多还原

【Abstract】 This paper is mainly concerned with the significance and merit of LiuBannong in the New Chinese Literature between 1913 and 1934. At that time, Liu, based on his writing, established a link between the popular literature, the folk literature and the May 4th literature, and paved the way for the development of the morden literature..Considering him standing on the turning point of literary style changing from the old to the new, this paper tries to make a comprehensive evaluation of Liu’s achievements in and contribution to the new literature. Summarizing his life and his literary writing, this paper tries to analyze the reason why Liu being overlooked by many people for so many years, based on which, this paper further expounds its content and the significance. Then, centering on his fiction theory and writing during the republic era(1913—1917), this paper tires to analyze the differences between Liu’s theory and writing and the one being considered to be Mandarin Ducks and Butterflies. It also tries to point out that Liu’s interests on the literary form and the express approach of the popular literature has laid solid foundation for his prosing in the folk literature later. So, it is not surprising that in 1918, Liu involved himself deeply in the so called The ballad Movement. Liu learned a lot from these ballad, based on which, he tried to reform the old Chinese poems. He began to write poetry in vernacular Chinese in 1917, which means a portion of his poetry were full of some kind of Chinese language essentially modeled after the spoken language of the common people. As is well known, Classical Chinese became increasingly viewed as an archaic fossil hindering education and literacy, and, many suggested, social and national progress. And Liu believed that the primitive passion of the vernacular Chinese can give the Chinese people some power to survive the great crisis they faced at that time, and give the nation a re- birth. In a word, what he called for is the creation of a new Chinese culture based on local and folk standards. Finally, this paper tries to give an answer to the question that whether Liu Bannong be superannuated or not during his last years.It can be concluded that what this paper concerned will be of great help to our understanding about the link between the popular literature, the folk literature and the May 4th literature. It also can help us broaden our research area and better understand from where the new Chinese literature comes.更多还原