【作者】 高慧；

【导师】 高旭东；

【作者基本信息】 北京语言大学 ， 比较文学与世界文学， 2009， 博士

【摘要】 “狐狸型”学者李欧梵是继夏志清之后,美国汉学界现代文学研究领域最具影响力的学者之一,夏志清、李欧梵、王德威以各有侧重、同时具有一定传承性的研究成果堪称美国汉学界现代文学领域的拓荒先锋和中流砥柱,他们以独特、新颖的理论视角、跨学科的研究方法形成20世纪中国文学研究的海外视野。现代性的追求是贯穿李欧梵几十年学术生涯的理论红线,无论是对徐志摩、郁达夫、鲁迅等“五四”经典作家的研究,还是对“晚清”印刷媒体、上海都市文化的考察,李欧梵都以中国传统社会的现代转型为一切思考、论述的基点。从中国的历史文化环境出发,李欧梵以“世纪末的华丽”来概括中国现代性的特点,反思线性发展的进步时间观和与之相应的启蒙现代性模式,认为中国的传统和现代在文化上不能作二分法而截然对立,在晚清新旧交替的历史情境中,新与旧、传统与现代相互混杂产生了一种“华丽”,历史的危机感构成文化创作的动力,旧传统构成新文化的必备条件。“世纪末的华丽”经历了晚清、30年代和90年代三个关键时代一直延续到当下,在全球化背景下形成前现代、现代、后现代混杂的复杂状况。通过独特的现代性视野,李欧梵在20世纪中国文学与文化研究领域提出了许多独到、新颖、富于启发性的见解。在雷蒙德·威廉斯“乡村”、“城市”以及“大都市”等理论话语及空间批评理论的启发下,李欧梵以“现代性”为基点发掘中国现代文学批评的空间维度,揭示了“新文学”传统中以乡村为核心的空间叙事对城市文学的压制。通过对哈贝马斯“公共领域”概念的创造性转化,考察近代印刷媒体在“公共空间”的拓展方面所起的作用,尤其是《申报》自由谈版的“游戏文章”,以边缘型的批评模式,通过“反讽”和“嘲讽”形成众声喧哗、多声复义的言论空间,参与了现代新的民族国家想象的共同体之建构。30年代以后,鲁迅的《伪自由书》用弯曲、折射的方法在国民党新闻检查制度下为自己的言论争取了一点空间,公共言论的空间却萎缩了。“中国现代作家的浪漫一代”是李欧梵中国现代文学研究的起点,他用文学的材料探讨“五四”时代文人的浪漫心态,书写一部集体传记,也是心态史,从情感、主观、个体角度论述浪漫精神对现代知识分子的塑造。颓废是浪漫心态的另一面,也是“现代性”的一维,李欧梵追溯颓废在现代中文语境中被边缘化的境遇,重画了颓废文学谱系。通过梳理现代文学“浪漫”和“颓废”的线索,李欧梵从审美现代性角度丰富了中国现代文学史叙事话语。李欧梵出生于中国乡土,在台湾大学专攻外文,在美国研究和教授中国文学和历史,哈佛退休后到香港教授西方文学和理论,他身上必然体现出中西的差异、沟通与融合。作为一名华裔学者,身处美国学术环境,返观中国从晚清延续至今追寻现代性的文学和文化景观,李欧梵的批评眼光独到而犀利,对他的文学与文化研究展开批评的批评,是比较文学研究领域极富学术价值的课题。更多还原

【Abstract】 Leo Ou-fan Lee is one of the most influential figures in modern Chinese literary studies within the realm of Sinology in America.Though emphasizing different aspects,together with C.T.Hisa and David Der-wei Wang,Leo demonstrates the continuity of the tradition in modern Chinese literary studies within the realm of Sinology in America with solid academic achievements.As the pioneers and backbone of this area,their unique theoretical perspectives and interdisciplinary approaches help to form the overseas perspective on the Chinese literary studies of the 20^th century.The theoretical concern underlying Leo’s academic activities of decades is his pursuit of modernity.Whether it’s his research on classic writers of "May the Fourth Movement" like Xu Zhimo,Yu Dafu and Lu Xun,or his observations on the press media during "the late Qing dynasty" and metropolitan culture of Shanghai city,the issue of modern transformation of traditional Chinese society remains the core of Leo’s thinking and argument.Rooted in the historical and cultural context of China, Leo characterizes the modernity of China as "Fin-de-siecle Splendor".Based on his reevaluation of linear concept of time and the related model of enlightened modernity, Leo concludes that in China there is no polarity between tradition and modernization on the ground that the "splendor",the product of the combination of the emergent modernization and the residual tradition in the historical context of the late Qing dynasty,symbolizes both a sense of historical crisis which serves as a stimulus to cultural creation and the residual tradition which prepares the necessary conditions for the emergent culture.The "Fin-de-siecle Splendor",after three critical phases of the late Qing dynasty,the thirties and the nineties of the 20^th century,has been transformed into a complex of pre-modern,modern and post-modern situations in the context of globalization. Leo,through his perspective of modernity,offers a lot of unique and enlightening insights into Chinese literary and cultural studies of the 20^th century.By deploying Raymond Williams’spatial theory about "country","city" and "metropolis",Leo explores the spatial dimension of modern Chinese literary criticism and reveals the domination of rural narration over urban literature in "New Literature".By referring to Habermas’concept of "public sphere",Leo examines the role of press media in the expansion of "public space" in modern China,particularly in the case of "playful essays" from the "Free Talk Colummn" in Shen Bao Newspaper which contribute to the establishment of the imagined community of modern nation-state by creating a tolerable speech space through marginalized criticism and "irony" or "sarcasm".After the 1930s,while Lu Xun,under the press censorship imposed by the National Party’s government,was gaining a limited space for personal speech with an evasive tactics of writing,the space for public speech was greatly shrunk.Leo starts his modern Chinese literary studies with "the romantic generation of Chinese writers".He uses literary texts to explore the romantic mentality of the writers in "May the Fourth"Movement" and completes a collective biography of how romantic spirit shapes modern Chinese intellectuals emotionally and subjectively. Decadence is not only another side of romantic mentality,but also one of the dimensions of modernity.Leo remaps the literary genealogy of decadence by tracing the process of marginalization of decadence in the context of Chinese language.Leo’s research on "romanticism" and "decadence" in modern Chinese literature enriches the narrative discourse of the history of modern Chinese literature from the perspective of aesthetic modernity.Born in mainland of China and an English major student in Taiwan,Leo has done researches and taught Chinese literature and history in America.After his retirement from Harvard University,Leo went to Hong Kong to teach western literature and literary theory.All these reflect both differences and communication between China and the west in him.As a Chinese American scholar Leo has made a great contribution to the study of modernity in Chinese literature and culture from the late Qing dynasty to the present.The critique of his literary and cultural research thus becomes the significant subject within the realm of comparative literature studies.更多还原