中国现代乡土文学的境界叙事和意象叙事

【作者】 王建仓；

【导师】 陈学超； 李继凯；

【作者基本信息】 陕西师范大学 ， 文艺学， 2009， 博士

【摘要】 本论题是关于中国现代乡土文学叙事的民族品格范式论。通过理论与实践相结合的论证,本文认为境界叙事和意象叙事是20世纪中国现代乡土文学叙事中由民族文化底蕴养成并逐渐成熟的两种重要的民族范式,而沈从文和贾平凹则是这两种叙事范式的典型个案。境界、意象是中国古典诗词乃至其他艺术的精髓,既是认识论意义上的,又是方法论意义上的。境界、意象作为中国文学审美的基本方法,与本民族传统文化的主体精神是一致的,是中国传统文学艺术的思维方法、审美理想追求与文化的统一。古典诗词论理是如此,现代叙事文学虽由于现代理性思维洗礼有很大改观,但从艺术思维角度看,应该说对于意象和境界这两种民族文学艺术的内核依然有非常自觉的继承和拓展。本文即尝试和努力运用境界、意象等传统诗学概念阐释现代叙事文学作品,并从现代叙事的民族品格建构角度,以充足丰富的文学实践资源为基础,抽象概括出主要的两种叙事范式:现代境界叙事和现代意象叙事。本文对这两个关键性概念做了学理规范,对两者之间的特征关系进行对照比较分析,还从文体形态之间的互设,中国传统叙事的演绎发展以及《红楼梦》叙事的现代传承和影响等几方面进行了论证。现代乡土文学叙事的总体品格,既是现代文明和现代叙事催生的结果,又是本民族诗性传统的自觉继承和拓展的结果。尤其是民族品格,具有民族文化的亲缘性。这决定了其对于境界叙事和意象叙事审美方法有着更加直接的表现。所以,本文选择从现代乡土文学叙事特别角度切入,着力于考察其民族品格,遂又抽象概括出现代乡土境界叙事和乡土意象叙事两种范式。这仍然是基于这样的现实:现代乡土文学的文化底蕴和文学实践为我们的理论建构提供了充足条件、充分理由以及理论总结的现实必要性。沈从文和贾平凹的叙事研究因此也就自然进入我们的视界,对他们乡土叙事文本的个案分析,就是用以支撑本文的基本观点。沈从文作为现代文学史上乡土文学的一个典范作家,成熟之后的乡土写作,总体呈现为境界叙事,可视为现代乡土境界叙事的典范。他以自然人性超时空文化视界观照湘西乡土人文生存方式,以湘西为反观现代文化的记忆和想象策源地,创造了双重品格意义的文化湘西和文学湘西世界。20世纪30年代沈从文的乡土写作达到巅峰时期。他以对现代和乡土双重反思的矛盾认知,带有强烈的个人主体情绪回眸凝视湘西古朴原始的生存状态,既有从自然人性角度对湘西文化的肯定和留恋,又有从现实生存角度不自觉地流露出对湘西落后封闭的担忧。至40年代,沈从文继续深入反思现代文化和社会现实,在“文运重建”的宏阔视野下,其自然人性观的思考明确指向建构和谐人性和和谐有序生存的现代“乌托邦”。但现实生活的巨大反差使沈从文明白,这种人性理想只能存在于文学的记忆和想象世界里,他的创作也只能是现代版的“桃花源记”。所以,从《边城》到《长河》,他的乡土写作,几乎都笼罩着浓重的沈从文式的忧郁情绪,正是这种情绪作为叙事视点的有机构成,使得他的生命哲学、文化诗学和艺术审美三者在建构自然和谐的生命存在这一人性理想上达到高度统一。并因此创造了20世纪乡土叙事的一种极致品格形式——境界叙事。沈从文的境界叙事特征主要是化情意为境界,视点情绪的凝聚整一性,虚实相即的叙事架构,人物焦点、时空结构等特别具体之法,以及其他独特的文化和文学叙事要素所形成的被本文合称为“水样叙事”的策略。当代作家贾平凹创作已经三十余年,主要成就也在现代乡土叙事,他为我们创造了一个文化文学的商州世界。他以个人情绪与社会集体情绪同步共颤,以当代商州为现代社会文化还原和想象的策略地,对当代中国社会自改革开放以来的三十年给与“史诗”般的跟踪还原。民俗和宗族是贾平凹记录世相和想象文化商州的两大取向。成熟之后的贾平凹乡土写作总体呈现为整体混沌意象叙事,可视为现代乡土意象叙事的典范,从《浮躁》到《高老庄》再到《秦腔》,贾平凹及时敏锐地表现了农耕文明在现代文明的炙烤下解体离散的过程;叙事策略相应地从整体世相表象还原策略发展到混沌还原写实叙事策略,即从我们所抽象概括的整体意象叙事到混沌意象叙事。所以,贾平凹的文学商州世界是乡土文化的商州意象世界。贾平凹的意象叙事主要特征是转意成象,创造气象浑然、贯穿始终的整体意象或混沌意象,虚实相即以实写虚的元素整合规则,人物视点特征和共时无序结构等具体之法,以及其他独特的文化和文学叙事要素所形成的被本文合称为“山样叙事”的策略。本文认为境界叙事和意象叙事不但是20世纪中国叙事文学民族品格的重要范式,而且为世界文学的叙事品格做出了重要贡献,所以,它们既是现代乡土叙事的特征也是整个现代文学叙事的重要品质构成,既是民族的也是世界的。在当代语境中,它们还是继续弘扬传统民族文化精髓的文学创新路径,同时也是中国现代乡土文学批评方法的民族话语转型的重要切入点和支撑点。更多还原

【Abstract】 My doctoral dissertation’s topic mainly discuss the national literature’s （in fact they are mainly novels） paradigm and character of modern native narration. The article argues that both of the realmized-narrative and the imagerized-narrative, which contain inside information from the national culture and gradually take their own initiative to develop maturely two paradigms of modern nation-narrative, are the important paradigms of the 20^th century’s China modern native narrative. And Shen Cong-wen and Jia Ping-wa are the typical writers of these two national narrative characters, especially on modern native literature.The realm and the image are originally the essence of Chinese classical poetry, as well as other arts. Both of them as important concepts are not only in the epistemological sense, but also in the methodological sense. Because the realm and the image are the essence same as the main body of the traditional culture spirits, they are the united way of traditional Chinese literature and arts, the basic forms of the aesthetic pursuit, and the basic aesthetic method on the history of Chinese literature. The criticism ways of Chinese classical poetry is the case, Chinese modern narrative literature, especially the so-called poetic-fiction or poetic-prose, is so as it, although the later has been changed a lot in terms of the impact of modern rational thinking. The practice of Chinese modern literature is the best proof.Of course the reasoning can be watched as it too. My dissertation just has a try to use the traditional poetic concepts, especially the two core concepts, to explain modern narrative fictions. From the point of view on modern construction of the national narrative characters, based on a large number of resources from modern narrative literature practice, the paper summarizes the most important paradigms and characters of modern national literature as the realmized-narrative and the imagerized-narrative, also it should be said that the realmized-narrative and the imagerized-narrative of modem national literature have not only inherited very consciously from both of the realm and the image, but also what they develop in future will must be on the base of them. And in my paper we try to give justifications for the concept norms, and by comparatively analyzing the characteristics between them. They are yet proved by the interpretation of the mutual-establishing within writing Styles, the development of the patterns of Chinese classic narrative, as well as a few proof on the modern narrative tradition from A Dream of Red Mansions and its impact on Chinese modern literature.Modern native literature’s overall character of narrative is not only the birth of modern Western narrative and Modern civilization （modernity）, but also the results of the national poetic tradition （Nationality）. Especially the national character, with the relatives of the national culture, is of the outcome of the succession and development. It determines that both of them have a more direct method of performance on modern native literature’s aesthetic. Therefore, this article in particular has selected the angle of modern native literature to view the narrative national character, and summed up two abstract paradigms: the native realmized-narrative and the native imagerized-narrative, which grounded on the cultural and literary practice, the sufficient reason and the need of theory summary to the reality.Therefore, the text study of native narrative on Shen Cong-wen and Jia Ping-wa’ is naturally to enter our vision field, which, as an individual case analysis, is in order to support the basic point of view in this article.Shen Cong-wen was a typical writer of the local literary in the history of modern literature. In his mature writing period, most of the native writings are overall showed for the realmized-narrative, which can be regarded as a modern model on the local narrative level. He cared about the survival of Xiangxi native humanities, which is beyond field of vision. On the other hand, he made Xiangxi as the source of memory and imagination, on the dual character of culture and literature, contrasted with modernity, created a cultural and literary significance of the Xiangxi world. In 1930s, Shen Cong-wen’s Xiangxi writing reached the peak. He gazed at Xiangxi survival status with dual awareness of contradictions on modern and native and strong personal feelings, to reflect and review the main original ancient life. From the point of view, he showed his recognition and nostalgia on natural Xiangxi culture, as well as unconsciously was comcerned about the backward and closed Xiangxi, from the perspective of survival realities. To 1940s, Shen Congwen continued to reflect the modern cultural and social reality.In the vision of "humanities and cultural reconstruction" his concept of a natural humanity had a clear point to build a harmonious humanity and an orderly modern harmony "utopia" of the survival. However, the great contrast in real life made Shen Congwen realized that the ideal of human nature had been existed only in the literature, in the world of memory and imagination, so his creativity is only the modern version of "Land of Peach Blossoms in mind". Therefore, from Border Town to the long river, almost his local writings are shadowed with heavy depression of Shen Congwen-style. Just with such a sentiment, at the level of constructing nature life in harmony existing on the ideal of human nature, his native writing makes his organic composition of narrative point of view, his aesthetic poetics, and his life philosophy forming into a unique construction, achieving a high degree of unity. And thus Shen Cong-wen created the extreme form of local character in 20^th century that is what we called, the realmized-narrative. The text characteristics of Shen Cong-wen’s realmized-narrative mainly are the affectively realmized, emotional viewpoint making entire elements in one, the actual situation inter-action with abstract image （to let the right ideology guide the reality）, the unified rules of the narrative elements, as well as the characters focus, space-time structure of the narration and other specific factors that are summarized in my article as the strategy of "water-like narrative", etc.Jia Ping-wa, a contemporary writer, has been writing more than 30 years. His major achievement of modern local narrative is that he has created a culture image of Shangzhou in his literature world for us. His personal feeling flutters synchronously to the emotions of the contemporary Chinese mass society. His works collects Shangzhou contemporary culture as the source to "restore" and "imagine" china modern society, especially the three decades since reform and opening up, being given "epic"-like tracking and reduction. Folk and clans are of the two cultural orientations of Shangzhou in Jia Ping-wa’s works to record and imagine verity of life. His sophisticated writings about Shangzhou are an overall showing as a whole chaotic imagerized-narrative, which could be regarded as a modem model of native imagerized-narrative. From the Impetuous to Old Gao Village to Shaanxi/qin Opera, Jia Ping-wa’s works are timely performance of the acute farming civilization baked in modern civilization and the slow process of disintegration of discrete; his narrative strategies changed accordingly from realist recording and imagining variety of life; from the imagerized-narrative, to chaotic imagining narrative, and to chaoticized-narrative. Therefore, the world of Jia Ping-wa’s works about Shangzhou local is the world of Shangzhou culture imagining. The main features of Jia Ping-wa’s imagerized-narrative are the imagerized meaning, a seamless atmosphere and the whole image or the chaos image created in the works, the rule of that use of the actual lining of the elements to act the virtual integration （let correct ideology contrast the reality）, the character point-view features, the disordered but same time structure, and Other specific elements in our article called as the strategy （contrast with Shen Cong-wen ） of "mountain-like narrative", etc.In this paper, the author considers on the whole that the two paradigms are not only the essential paradigms of 20^th century national characters of Chinese Narrative Literature, but the contribution of the narrative to world literature as a whole character. So they are not only the characteristics to the local narrative but also the essential quality of narrative structure to the whole narrative in the history of modern literary. They are the Nation’s, also the World’s. In the contemporary era, it is showed generally that the realmized-narrative and the imagerized-narrative are possibly the paths to continue innovation, and the important point of entry to the native criticism ways of modern Chinese literary or the transformation to the national discourse.更多还原