【作者】 孙媛；

【导师】 谭好哲；

【作者基本信息】 山东大学 ， 文艺学， 2009， 博士

【摘要】 作为一位具有独立思想体系和文化操守的诗学家,吴宓曾经逆时代潮流而动,尖锐的指出了其所处时代的主流文学和文论发展过程中所存在的诸多问题,并有意识地对这些问题进行过某种程度的补充和纠偏,很多观点在今天看来仍然具有启发意义,其重要性不容忽视。而吴宓诗学思想的窘迫处境和寂寞命运则暗示出了中国文论的现代性传统建立过程中所存在的缺失,这种缺失所留下的后遗症已经给现代中国文论的发展造成了误区。所以,时至今日,吴宓等学者的诗学研究成果理应成为我们对当代中国文艺学研究的历史和现状进行反思,以及建构具有现代性的中国文论的有益借鉴。本文拟从现代性的视角切入,将吴宓诗学思想置入中国文化和文论现代性追求的大框架之中进行研究,在现代性的宏阔视野中分析其基本理论范畴和批评实践特征,考察吴宓诗学思想在文学理论现代性建设进程中所应具备的意义和价值。全文共分为六个部分:导论部分重点说明论题内涵、选题缘起和研究现状。论题内涵方面,通过分析“诗学”和“现代性”两个关键词的内涵,对“现代性视域中的吴宓诗学思想研究”这一论题的内涵进行了界定,指出该论题的研究重点在于将现代性视域与吴宓诗学思想研究真正地结合起来,从而为吴宓诗学思想研究开拓出新的学术生长点和意义空间。选题缘起方面,说明本论文以吴宓诗学思想为中心来展开专题性研究的理由:一是因为他的诗学思想在当时的历史语境下确实独树一帜,值得关注;二是因为他的思想关涉到中国文论现代性追求的复杂性和潜在可能。研究现状方面,结合文化保守主义和学衡派的历史命运回顾和介绍学术界关于吴宓诗学思想的研究状况,分析其中所存在的不足之处,指出此课题尚留有等待拓展的研究空间。第一章,重点阐释吴宓诗学理论的文化思想基础。首先,介绍吴宓诗学思想得以萌生的具体文化空间,从新文化运动和文化保守主义者的矛盾和冲突入手分析其所处的现代性文化语境的复杂性和多重价值取向。指出文化激进主义风起云涌之时往往亦是文化保守主义潜滋暗长之际:前者的现代性单维体认方式在当时形成了一种强大的辐射机能,对新文化和新文学建设产生了重大的影响;而后者则在边缘发出了现代性另类体认的声音,为前者提供了一个具有警示意义和制衡作用的反对立场。二者的矛盾和冲突不仅体现了两种文化现代性思路之间的紧张关系,而且昭示着文化现代性选择的多种潜在可能。对吴宓的诗学思想展开研究时,必须将其置于这样一个由不同现代性价值取向所生成的复杂的充满张力的文化现代性结构中加以考察。其次,着重探讨吴宓在濡染以关学思想为代表的中国传统文化和汲取海外新人文主义文化思想的基础上所提出的以整合中西传统文化精华建立新文化为核心的文化现代性发展思路。指出在以《学衡》为依托进行文化言说时,吴宓将整合中西新旧作为建设新文化的必经之路,体现出了比新文化阵营更为健全的文化心态和比一般文化保守主义者更为开阔的世界性的文化视野,故而,吴宓和《学衡》所代表的整合性的文化现代性理路理应得到重新分析和评价,这将有助于我们更深入地认识和思考中国现代文化发展的复杂性和多种可能性的问题。第二章从“文学理论的现代性”内涵入手,将“整合”作为吴宓诗学思想中具有现代性内涵的基本理论特征展开分析。“文学理论的现代性”并非孤立概念,而是关系范畴,如果说中西古今文论之间的张力关系构成了这一关系坐标的纵轴,那么社会“他律”性和文学“自律”性之间的张力关系则构成了这一关系坐标的横轴。“整合”作为吴宓诗学思想中具有现代性内涵的理论特征,不仅体现为中西古今诗学资源的整合,而且体现为文学“自律”性与社会“他律”性的整合。其一,中西古今诗学资源的整合。吴宓打破了“中学”/“西学”,“旧学”/”新学”之间的界线,主张在无新旧无中西的开阔视野上,将古今中外各种诗学资源置于同一平台上,以开阔的文化视野和冷静的学术心态敏锐甄别其间的异同和联系,从瞬息万变的“多”中找到普遍永恒的“一”作为中西古今诗学资源的结“和”点,在整合传统与现代、中国与西方的基础上,熔冶出一个新的现代诗学理论体系。“三境”说作为吴宓在诗学研究上的重要成果,即是其整合中西古今诗学思想的一个典型实例——是吴宓立足于中国传统诗学理论,接受西方古典主义诗学的方法和观点,融会现代哲学意识和逻辑分析推理所建构出来的诗学范畴。其二,文学自律性与社会他律性的整合。对道德理性的关注和对语言文字审美特质的重视构成了其诗学思想既对抗又互补的两级——社会“他律”性和文学“自律”性:前者要求对文学进行外部研究,传达的是对文学所应背负的社会任务的期许;后者要求对文学进行内部研究,表达的是对文学内在独特属性和存在合法依据的重视。二者在矛盾和冲突的状态中相互影响、相互制约,构成了吴宓诗学思想既对抗又互补的两级。而吴宓在处理二者关系时所采用的以“自律论”整合“他律论”的思路则为在文学的“外部研究”和“内部研究”之间找到新的动态平衡提供了一个重要的视角,从而以一种与新文学阵营异质的思维方式对文学理论的现代性建构进行了有益的探索。第三章,对吴宓的诗学批评实践进行阐释和分析。在批评实践中,吴宓不但极为强调文学批评的标准、方法及规范学理,提出了文学批评的一系列基本范畴,而且站在跨学科和跨文化的立场上,调动自己的诗情与理性,运用“义理派”的批评方法进行了大量的文学阐释和文学分析,从中我们可以看到现代批评的思维方式和学术方法的明显特征。其中,诗歌和小说是吴宓诗学批评的重镇。在品评诗歌时,吴宓主张对从内质和外形两方面入手,如果说诗歌“内质”方面的“思想感情”之美主要体现为情道兼顾,那么诗歌“外形”方面的“韵律格调”之美则更多地体现为新旧兼容:他理想中的“道”并不在“情”之外,而就在“情”之中,二者的关系并不是相互对立和矛盾的,而是相辅相成,圆融会通的;他理想中的诗歌“外形”不以新旧而论,关键是要具备韵律格调之美。用今天的眼光来看,在主张恣肆奔放地宣泄情感和展示个性的白话新诗运动和“诗体大解放”主张占据了主导地位的中国现代诗发展过程中,吴宓进行诗歌批评时所坚持和体现的情道兼顾、新旧兼容的理论主张无疑展现了20世纪上半叶中国诗坛在白话诗理论主流之外的另一诗论倾向,在客观上给中国新诗的“现代性”发展提供了另一种可供选择的可能性。在进行小说批评时,吴宓对当时流行的实用功利主义批评模式和科学实证主义批评模式都十分不满,比较而言,将小说与艺术与哲学结合起来进行思考的诗学思想决定了他更乐于接受王国维在《红楼梦评论》中所开创的从哲学美学视界阐释小说价值和意蕴的做法,而且,较之王国维,他不仅具有更为开阔的人生哲学视野,而且更加关注小说作为语言艺术的具体美学特征,能够有意识地从文学的视角出发,运用西方现代的小说理论来进行小说批评,这对于建构和完善现代小说批评是颇有裨益的。而他的《红楼梦》批评和对“理想小说”的分析界定实际上就是这种讲求人生哲学内涵和小说艺术特征的小说批评基本价值取向的集中体现。第四章,集中探讨吴宓诗学思想在现代诗学建构史上的独特价值所在和遭遇困顿命运的主要原因。从历史的眼光来看,吴宓的诗学思想不仅对当时盛行的激进主义文学观念具有理论纠偏意义,可以有效地补充和纠正新文学阵营在文学工具意识驱使下将文学现代性、社会现代性混为一体的理论偏颇和在进化论的价值预设下所持的趋新求异的现代诗学建构立场,而且在保守主义文化阵营中也别具特色和价值:较之国粹派,吴宓的诗学理论超越了传统意义上的杂文学观念,所体现出的主要是一种富有现代色彩的分析兼综合的文学研究的思维方式;较之早期新儒家回归传统强调民族本位的内向反思式的诗学建构思路,吴宓更强调中西诗学之间的相互比较性和相互参照性,在学术宗旨上更强调诗学思想的世界性;较之学衡派另一代表人物梅光迪,吴宓更强调文学本身的自律性特征,更能体现出现代文学家的眼光和尺度。总之,吴宓诗学思想堪称是二十世纪中国诗学发展史上的重要一环,理应引起我们的重视。但是,在现代诗学建构史上,它却遭遇了极其困顿的历史命运,充满了对文学现实秩序建构的无力感,造成这一困境的主要原因有二:其一,就总体而言,现代诗学的宏观历史文化语境并不适于吴宓诗学理论的生长和发展。尽管他也积极参加了对现代诗学发展方向的构想,但是,他所提出的观点已经超越了主流学界的价值范畴和认同视野,故而其诗学理论仍然会不可避免地遭到“误读”和冷遇。其二,吴宓诗学思想的自身局限性和不完全的现代性品格无疑也限制了它在中国现代诗学发展历程当中的生长空间。结语,论述吴宓诗学思想与当下文论现代性建设的链接方式。尽管吴宓诗学思想的具体观点并不足以回答现代文论建设过程中所存在的诸多问题,但是,它所秉持的立场方法和精神理念却敞开了耐人寻味的文化理路和思想空间,对我们今天的文论现代性建设具有重大的启示意义。更多还原

【Abstract】 Wu Mi, a writer with independent thoughts and valuable cultural integrity, used to point out a good many defects of the mainstream of the literature of his time and problems in the development of literary theory. Furthermore, he put forward a lot of valuable suggestions and solutions to the problems, which have turned out to be great references in our current studies. We must lay more importance to his ideas and thoughts. Nevertheless, at his time, Wu Mi’s thoughts of poetics fell into neglect, which indicated the inadequacy in the process of modernization of Chinese literary theory. It cannot be denied that this inadequacy has been an obstacle to the progress of Chinese literary theory. Thus, we should consider Wu Mi’s thoughts as great reference while reflecting on the history and present situation of Chinese literary research so as to develop modern Chinese literary theory.From the standpoint of modernity, the thesis intends to make a comprehensive analysis of Wu Mi’ s poetic thoughts and characterstics of his practice of literary criticism, exploring the significance and value of his poetics thoughs to the development of Chinese modern literary theory. This thesis consists of six parts as follows.The introductory part is mainly concerned about the significance of the topic, the reason why the topic is chosen and the current research findings. As for the significance of the topic, with the analysis of two key words, namely "poetics" and "modernity" , the thesis points out that the key of the research lies in the combination of the view of modernity and the study of Wu Mi’ s poetic thoughts, hopefully through which a new exploring way will be carved out. With regard to reasons why the topic is chosen, on the one hand, his poetic thoughts are unique in his time; on the other hand, his thoughts imply the complexity and potentiality of the modernization of Chinese literary theory. With respct to the existing research findings, this thesis is intended to make a review of past studies on Wu Mi’ s thoughts, especially the studies conducted by the cultural conservatives and Xue Heng ,and to point out the possible further studies in this field.Chapter one is mainly about the cultural foundation of Wu Mi’ s poetic theory. Firstly, we intend to explore the specific cultural foundation on which Wu Mi’ s poetic thoughts are developed . With a consideration of the conflict between New Cultural Movement and cultural conservatism, this part analyzes the complexity of the cultural circumstance and multidimensional values of Wu Mi’s time. On the one hand, radicals’ modern way of thought has imposed tremendous impact on the construction of new culture and literature. On the one hand, conservatives put forward different ideas and thoughts, showing an opposite stand. The opposite positions of two parties indicate both two incompatible thoughts and various possibilities of cultural choice. Thus, the study of Wu Mi’s poetic thoughts involves the analysis of the complicated cultural structure. Secondly, this chapter discusses Wu Mi’s idea of developing new culture by combining the essences of both Chinese and foreign culrures,which mainly stemed from Guan Xue and New Humanism. With the idea of integrating Chinese and foreign cultural elements, when Wu Mi compiled Xue Heng, he shows more openness than conservatives of his time. Thus, it is worthwhile to reconsider and revalue Wu Mi’s cultural idea of cultural modernization, which will provide us with great assistance in understanding of the complexity and possibility of Chinese cultural development.Chapter two regards integration as the character of Wu Mi’s poetic thoughts and conducts an analysis of it from the intension of literature theory’ s modernity. Literature theory’ s modernity isn’ t an isolated concept, but a related category.On one hand, the integration between literary autonomy and social heteronomy is the abscissa of the coordinate axis. On the other hand, the integration of ancient and present poetic resources, and Chinese and western poetic resources is the ordinate of the coordinate axis. Integration in Wu Mi’s poetic thoughts is embodied in two aspects: Firstly, it means the integration of ancient and present poetic resources, and Chinese and western poetic resources. Wu Mi maintains that various poetic resources should be treated equally so as to find the similarities and differences among them. Only with a broad cultural view and calm attitude toward various poetics resources can a new system of modern poetics be achieved. The thought of three stages, one of Wu Mi’s great research findings, is a specific example of the integration of ancient and present poetic resources and Chinese and western poetic resources. It is one of his unique poetic terms based on the integration of traditional Chinese poetic theory and western poetic ideas. Secondly, it means the integration between literary autonomy and social heteronomy. The former requires the study of internal elements of literature, attaching importance to the unique attributes of literature, while the latter asks for external study of literature, expressing the social expectations on literature. The two aspects affect and restrict each other, making up the two contradicting poles of Wu Mi’s thoughts. Wu Mi’s idea of integrating the two aspects offers an important view toward the balance between external and internal literary research and plays an important role in the exploration of literary theory modernization.Chapter three is intended to make an interpretation and analysis of Wu Mi’s critical practice. In his practice of literary critic, Wu Mi places great importance to the criteria, means and standards of literary criticism and brings forward a set of basic academic terms. Furthermore, on the cross-cultural standpoint of view, he exerts sense and sensibility to conduct lots of literary studies, which embody modern academic thoughts and means. Wu Mi pays much attention to poetry and fiction critic. Wu Mi maintains that the criticism of poetry should involve the study of two aspects, namely external form and internal sentiment of poetry. According to him, the beauty of poetic sentiment is mainly embodied in the combination of sense and sensibility while the beauty of poetic rhythm indicates the integration of the new and the old. The two aspects are compatible with each other. In the time when the feelings and individuality were overemphasized, Wu Mi’s poetic thought shows another tendency of literary critic by proclaiming the combination of sense and sensibility, and the integration of traditional and new elements. As for fiction criticism, Wu Mi’s shows disapproval of the pragmatism and positivism. Instead, he prefers to Wang Guowei’s idea of interpreting the value and meaning of fictions from the view of philosophy and aesthetics. Comparing with Wang Guowei, Wu Mi has a more open view of life experience and philosophy and he puts more important to the specific aesthetic features of fictions. With the literary view and modern western fiction theories, he conducts the theory-conscious literary criticism, which is helpful to improve modern fiction criticism. This kind of conception involving study of philosophy and features of fictions is finely embodied in his review of A Dream of Red Chamber and analysis of "ideal fiction".Chapter four is intended to explore the unique values of Wu Mi’s poetic thought and reasons why his idea fell into neglect in his time. From a historical view, Wu Mi’s doctrines not only rectified the prevailing radical literary thoughts in his time but displayed unique features in the conservative camp. Comparing with the Guicui School, Wu Mi shows a modern thinking way of induction and deduction. Comparing with new Confucians’ approach of inner reflection, Wu Mi’s idea lays importance to the comparison and reference between Chinese and western poetics. Unlike Mei Guangdi, another representative of the Xueheng School, Wu Mi pays more attention to the self-reliance of literature, showing a modern view and broaden horizons. Thus, Wu Mi’s poetic thought plays an essentially important role in the development of Chinese poetics in the 20th century. Unfortunately, Wu Mi’s doctrine encountered indifference and neglect in his time. Reasons can be illustrated as follows. On the one hand, the macro-cultural background was not an ideal foundation for the development of Wu Mi’s poetic theory. He made his contribution to the development of modern poetics, but his ideas transcended the values and recognition of the academic mainstream in his time and accordingly his thoughts were doomed to be neglected. On the other hand, the defects of his poetics prevented its further improvement in the development of Chinese poetics.The part of conclusion is intended to discuss the connection between Wu Mi’s poetic thoughts and modernity of current literary theory. Although Wu Mi’s ideas cannot provide us with effective solutions to the current problemsi in the delvopment of modernity of literary theory, the stand and approaches he conducts provide us with a great eye opener and have showed great enlighting significance.更多还原