【作者】 杨丹丹；

【导师】 张福贵；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2010， 博士

【摘要】 无产阶级文化大革命是中国当代历史上十分重要的政治事件。如果单向度的从时间的维度上来衡量这场文化革命的意义和影响,那么对于自1840年鸦片战争以来就不断的上演暴力革命、维新改良、实验性改革的中国近现代史而言,充其量不过是为中国的现代化的革命历史进程添加了一个微小的注脚和符号,但如果从思想史和文化史的维度来探究这场以文化革命为口号,全民族集体参与、建构的“一场触及人们灵魂的大革命”,其影响和意义是中国近现代革命历史进程中无法规避的存在。文革不仅在中国近现代史上,而且在整个世界史上都留下了一份关于中国思想史、文化史、政治史的精神证词,十年荒谬悲壮的文化实验与黑暗丑陋的人性颠覆,成为中国以及世界思想史上一个怪异而复杂的时间段落和空间场域,其面目“模糊”而狰狞的精神遗产以及思想史、文化史意义上的悲凉压抑的精神内蕴,持续不断的震动人类的现代化进程,其展现出来的惊人性和规模、影响与复杂性……无论从哪一个方面来看,这都是一个值得世世代代长期研究下去的历史课题。本论文将新时期以来(1978——2009)“文革题材”小说作为研究对象,以“文革题材”小说演进的不同发展阶段为线,以个案作家专题解读为点,以不同阶段所彰显的不同代际作家精神现象分析为面的结构来展开,将“文革题材”小说放置在1978——1984,1985——1992,1993——1999,2000——2009四个中国历史转型期的时间框架内和四个不同的历史文化语境中,从历史、美学与精神现象学三个向度,对“五四”一代(即19世纪末生长,1920——1940年代进入社会文化角色的一代,这一代人中还有极少数成员尚在角色之中),“解放一代”(即1930——1940年代生长,1950——1960年代进入社会文化角色,至今尚未退出角色的一代),“四五”一代(即1940代末——1950年代末生长,1970——1980年代进入社会文化角色的一代),“游戏的一代”(即1960——1970年代生长,1990年代——21世纪初全面进入社会文化角色的一代)四代作家群体的“文革题材”小说的差异性书写进行考察和探究,以此来动态的把握“文革题材”小说的审美流变和话语变迁。在历史维度上。一方面,将“文革题材”小说放置在中国当代文学和中国20世纪文学的整体链条上进行审视,以此来探究五四文学——左翼文学——50—70年代文学——新时期文学之间内在的、恒定的、特质的文学的意识形态性,当代文学与国家意识形态的相互纠结;另一方面,将“文革题材”小说创作划分为四个历史阶段和不同的历史文化语境,1978——1984:新时期民族国家主体话语的重建、对峙与分流;1985——1992:文学主体性、“向内转”与现代性的民族诉求;1993——1999:国家市场经济主体的确立和后现代历史语境的形成;2000——2009:告别20世纪与全球化、世俗化的历史语境,将“文革题材”小说放置在这四个历史转型期的时间构架中,以此来探究”文革题材”小说与具体历史语境和文学场域之间的迎合、疏离与悖论。在美学维度上。通过对四个历史阶段“文革题材”小说的主题话语、人物形象、语言修辞、叙事模式的总结和概括,来探求“文革题材”小说在美学上的常态与激变。但对于”文革题材”小说美学上的探求,并不是单向度的形式主义研究,而是一种形式主义的意识形态研究,亦即寻求说明这些美学特征是在什么样的历史文化情境中成为可能的,它与意识形态构成一种什么样的联系。将新时期以来的“文革题材”小说放置在当代文学整体的框架内进行谱系学和知识考古学的分析,在五四文学——左翼文学——十七年文学——文革文学的链条中寻找新时期以来“文革题材”小说美学上的形式之“根”和基本话语类型在思想资源上的相对完整的共同性和共通性。“文革题材”小说在四个历史转型期阶段,在美学形式上经历了“象征”到“抒情”到“叙事”的变更,“象征”的美学形式是为了现代民族国家主体的重新建立,“抒情”是对当代知识分子个人主体重新确立的合法性的论证,“叙事”是对政治意识形态的质疑和祛魅,这三种美学形态在不同历史阶段的更迭和相互交织,显示了意识形态的深刻变化。在精神现象学维度上。当作为历史事实的文革进入到文本之中时,它就己经在当代作家主体意识的参与作用下演变成为了某种特定的精神现象,而体现在文学文本中的对于文革根源的持续追问,充分显示出了当代作家主体精神本身逐步生成与矛盾发展的整个过程。论文通过对当代不同代际作家对“文革题材”小说的差异性叙述,也即对同一个故事的不同讲法进行对比性研究,从面孔各异的殊相中梳理出当代中国作家精神形态不断变化的规律与原因,以寻找不同精神形态之间对话的可能。这些差异一方面体现着当代作家的某种选择,另一方面又不仅仅是当代的问题,它们联系着20世纪以来和社会现实和知识分子的精神历程,它们往往显影为作家的文化性格和精神特征,因此,从作家的精神结构、自我意识和创作心理来揭示这些问题,并以此来勘察中国当代作家主体的生成、发展和流变,以及当代作家身份意识的嬗变和文化心态的更迭,中国当代转型期社会思想的变迁和分化,从而形成一种心理——文化批评的研究思路。在此问题的论述中我以现代知识分子启蒙思想在新时期以来不同历史阶段的演变和当代作家对启蒙思想的迎合、质疑、疏离与解构,来勘察中国当代作家身份认同的嬗变和文化心态的更迭,并寻找此问题背后的意识形态因素。当代作家对于文革根源的持续追问遵循政治意识形态——人性的根本缺欠——文化之根的挖掘——人的存在的可能性的演进路向,由外及内地逐步走向内在的精神世界,并在这种不停的找寻中,在身份意识上形成了启蒙者——革命者——启蒙者——边缘人的身份认同,在文化心态上形成激情——反叛——虚无——理性的流变。论文通过对王蒙、苏童、毕飞宇、王小波等人的个案分析来验证,并试图勾勒当代知识分子精神发展的一个总的格局和一个大致的轮廓。更多还原

【Abstract】 Needless to say, to May 16, 1966, the CPC Central Committee Political Bureau and enlarged on by "516 notice", fully launching the "Great Proletarian Cultural Revolution" as a starting point, October 18, 1976, the CPC Central Committee issued the "gangster , Zhang, Jiang Qing, Yao Wenyuan anti-Party Group of the notice ", to smash the" Gang of Four "counter-revolutionary groups as the end of the" Great Proletarian Cultural Revolution "is a very important contemporary Chinese history," political event. " If unidirectional up from time to measure the dimension of this "cultural revolution" of the meaning and impact, then the Opium War of 1840 played continuously since the violent revolution, reform improved experimental reform of China’s modern history and words, at best, but for the revolutionary history of China’s modernization process adds a tiny footnote and symbols, but if the history and cultural history from the ideological dimension to explore this with the "cultural revolution" as a slogan, the collective participation of the whole nation, construction of "a touch people’s souls Revolution", its impact and significance of the historical process of modern Chinese revolution can not avoid the existence of. Cultural Revolution, not only in modern Chinese history, but in the world have left a note on the history of Chinese intellectual history, cultural history, political history of the spirit of the testimony, absurd tragic decade experiment with the dark ugly cultural subversion of human nature, China and the world a strange and complex history of ideas of time and space paragraphs field, the face of "fuzzy" and ferocious spirit of heritage and intellectual history, cultural history oppressive sense of sadness the Spiritual Meaning, continuing the modernization process of human vibration.In 1978 - 1984 period, to tell the story of the Cultural Revolution, the main content and discourse resources, and literature as a historical background to "scar literature" and "reflection literature" in the collective naming and recognition of the legitimacy of history. Although the "scar", "Reflection" fiction writer, creative spirit of the main point, the novel about the way the aesthetic style of the novel there are differences: part of the novel is history as the Cultural Revolution ideology of "ideographic", part of the novel trying to repeat objectivity during the Cultural Revolution, the overall framework of history, attempts to outline some novel complex mental map during the Cultural Revolution, part of the novel is simply the Cultural Revolution, a radical political complaints and the aesthetic appearance of catharsis. However, early in the new era of "scar", "reflection" named form of fiction about the Cultural Revolution, these historical "story of the Cultural Revolution", although the memory has become the forgotten "a passion for years," but as a literary phenomenon Contemporary writers are constantly being told repeatedly and reconstruction, the researchers explain, and constant re-interpretation, "the so-called Cultural Revolution, the first is a" story "told by a different person" story ", a plot similar to the content Format details are changing all the different diagnosis and can lead to release of the ’story’. "With the end of the Cultural Revolution and the social and political movement in bankruptcy in the 1980s, China once again standing on the crossroads of history and turning decision, but rather it is interesting that the national ideology to shift in China’s contemporary political, ideological, cultural geography has always in depression, rejection, negative state of enlightenment discourse identified as the era of the mainstream discourse, to the Cultural Revolution movement in the history of the missing "54" re-connecting the Enlightenment thinking. Literature of the New is in the "New Enlightenment" and "new" construct their own historical context in the discourse space, and to "completely negate the Cultural Revolution" began his literary narrative of the heavy curtain. The national mainstream ideology of the Cultural Revolution in China’s revolutionary history and structure of the negative political practice of resettlement and the status of the heterogeneity, so that the reflection of the Cultural Revolution and the new literature in the new clean-up as the logical starting point for the criteria of modern rational spirit to democracy, science, freedom of thought as the main content of the Enlightenment ideas inherent in the new era of literature and learning resources, management support. In this context, the New Literature on the Cultural Revolution disaster of "self-reflection and critical," the formation of literary history on a new round of "cultural revolution", and the ideological emancipation movement initiated by the formation of structure and practice with the spirit of the same, and to the kind of state of Enlightenment discourse completion of a successful practice.The late 80’s, and particularly in 1989, the coordinates of time, atmosphere and spirit of the times thought to have undergone substantial transformation, questioning and reflection become a general trend towards generalization, people have from the state and society shelter to get out, to issue their own individual voices, it is a full individual ethos of the times, many writers back to the position of personal narrative, consciously resist the outside world to impose some sort of hint that he, the writer will own lives personal experience into a unique aesthetic form of expression at all with the personal characteristics of the position. In this context of age, the writers on the history of the Cultural Revolution also will turn knowledge and experience within the context of individual words, especially in the pioneering writer and group of writers born in the sixties the "Cultural Revolution narrative" has a significant feature of .Early in the New "Cultural Revolution narrative", due to the qualitative state ideology of the Cultural Revolution, so that the historical facts of the arrests of the Cultural Revolution in the limited scope and limited within the framework of the Cultural Revolution movement in this power struggle is also about the nature of was cover up. Into the 1990s, as China gradually the ideological divide, the disciplinary power of the national ideology gradually decline and abdication, in "Farewell to Revolution" of appeals and demands, the people of the new era was the "Cultural Revolution Narrative" was reflection and challenge, the Cultural Revolution as a struggle for power within the CPC freak generated once again been questioned and criticized, as in the literature there is also a corresponding number of works on the rights of the Cultural Revolution movement in the struggle for a panoramic view of The about: From the history of "grand politics" right to operate, to the daily life of the "micro-political" rights of intake; between top leaders from the party the right strategy, the intrigues between the ordinary little people; from the mainstream the right to change society, to change the rights of civil society; from political psychology, to human desires ... .... Cultural Revolution in order to reveal the true connotation of totalitarian rule.Emerged at the turn of the century the "discourse" as the narrative core of the "Cultural Revolution fiction" has really captured the "sex" in the role of the revolutionary process, give full play to the "Discourse" of critical functions in order to achieve revolutionary discourse of exile and the breakout, and to "high profit, rational plenty" of the revolution "more than passion, reason enough," state the reversal and subversion, that is, Xiaoming said: "the history of strong sexual pull into a (sexual) Carnival of the place. " Discourse in the Cultural Revolution, the "collective memory" of Wang Xiaobo Yan Lianke and literary writing is a model of meaning, both in the "Discourse" of the absurd and playful burst of two dimensions on a "negative content" and " represents the nothingness of something. "Since the new China "Cultural Revolution narrative" After several generations of writers have been building and perfecting the formation of a rich literary pedigree and rich like state, but can be retained long-term memory in people, and people thought to have a sustainable impact and shocking to those who freed themselves from the ideology is still the norm, beyond just limited to the surface of the criticism of political discourse during the Cultural Revolution, and penetrate the soul of the individual texture of the "Cultural Revolution Years", the existence of the state and the spirit of the individual space questioned and cross-examination, in order to activate the individual self in the Cultural Revolution Movement "history effect" of self-examination and torture works. Since the new century emerged out several "Cultural Revolution fiction," It is in this dimension and significance of contemporary "narrative Cultural Revolution" was expanded and extended, showing a new face and nature of the upgrade: a kind of individual "Original Sin" ethos of reflection and repentance for the narrative setting in his works the core, and proliferation as a common generalization of the phenomenon. These novels are no longer a simple history of the Cultural Revolution, violent criticism and banter to the game of mind and attitude of the irony of the Cultural Revolution movement, fool, but through the Cultural Revolution movement in the history of numerous wild appearance, the individual soul The "privacy" to expose and dialysis, from the "physical" level to a "metaphysical" level of the individual soul’s secret spy crack in the spirit of individual alienation and transformation, history and reality, reflection and repentance, sin and redemption, ethics and human nature, content in the novel constant repetition, and rose to the history of fundamental propositions, so as to contemporary "narrative Cultural Revolution" and open up new aesthetic space and the spirit of sight.更多还原