【作者】 杨姿；

【导师】 凌宇；

【作者基本信息】 湖南师范大学 ， 中国现当代文学， 2010， 博士

【摘要】 本文试图通过对二三十年代以及新时期小说中的“乡土浪漫书写”的比较分析,总结中国文学关于小说发生的内在规律。乡土创作通常被视作中国“现代化历程写照”,因为小说揭示这一过程中,乡土面临城市化进程的蚕食,一方面努力改变自身衰弱不振的状态,另一方面也流露出对未来发展道路的迷惘。在过去的研究中,我们注意从比较“城乡差异”的角度来发掘这一现代转换的意义,本文认为,仅仅关注到“差异性”也不足以完全阐述中国作家自己的心态变化,而对“浪漫书写”的重新认识,将有可能更具体地揭示中国二十世纪文学发展的若干细节。文章分为五个部分。第一部分为“导论”。当浪漫主义和乡土中国结盟,成为一种所谓的文学流派(论者的研究对象拟定在杨义所概括的“乡土浪漫派”之外),更是一种创作方法,也是一种精神追求,是主体对社会现实、历史文化和人生的态度,甚至也是一种人存在的境界。它的发展影响着社会主体的价值取向、人生状态、精神诉求和审美追求,另一方面,社会进步、主体精神生活提高、文学健康发展又反作用于浪漫主义。二十世纪之所以出现两次大规模的浪漫乡土书写高潮,一方面源于浪漫精神自身所坚持的理想主义和生命强力,另一方面也和社会发展结构与格局密不可分。无论是前期与现实主义相对,还是后期作为新时期文学重要构成的浪漫书写,都迥异于古代中国“归田卸甲”的桃源品格,从骨子里渗透和逼射的不是冷漠、平和、克己的澹泊与躲避,即使是诗意与牧歌的荡漾,也是现代意识关注下激情叙述的表现。通过对二十世纪乡土浪漫书写源流的探索,以及相关研究历史评述的梳理,总结了浪漫书写的理论形态,是在对外在世界的模仿转移到对个体内在宇宙的关注之后形成的,以情感性为中心对自我存在的思索,并进一步规定了包括“含魅”在内的乡土浪漫书写的基本特征。事实上,“乡土的浪漫书写”并不是和“国民性批判”对立起来的两条路,从“五四”开始,一代又一代的作家从社会核心意识形态中,获得变异的、却又不失精髓的传统智慧,并融解成他们世界观和性格的一部分,这种东西深藏且顽固,以至于后来的任何理论都不能直接作用；但因为人的思维来源与核心是从环境中吸纳观测事物的分寸,所以当非主流的理论涌入、讨论,伴随现象的理解、吸收成为形式上的在场,原有思维中被占领部分,重新组合成新的样式。这也是八十年代的乡土浪漫书写越来越不像标准的“浪漫”时,更加显示出本身的创造性,首先它来自于一个正义的心灵,不再乐意花费精力掩饰属于本体最真实的一部分,那么就使他们能够越过猎奇图景的诱惑,更加直接地抓住艺术与人群生存更有关系的部分,乡土浪漫书写的存在使二十世纪文学整体呈现出蓬勃昂扬的精神品格。第二部分主要讨论乡土的价值指向,以及这些意义本身的冲突和变化。对文学创作原本复杂的精神现象被“一体化”进行剥离,浪漫主义在二十世纪的中国文学中转变为精神产品的创造,归根到底并不是观念的“移植”,而是创造主体自我生命的体验与表达。鲁迅一代作家主要是在个体生命的立场上来读解乡土、感悟故乡,在这个前提下,国家民族的建设作为一个更大尺度得到重视但也与个体发展的问题形成冲撞,这可以说是关于乡土的一种“深度体验”。但到了汪曾祺这里,情况却发生了很大的改变,二、三十年代的乡土浪漫书写作者创作都充分显示了他们立场的个别性,但新时期作家与众不同的选择中既包含了独立性又兼具了普遍特征。尤其是“寻根”开始,作为联系着内在生命存在方式,也关涉“个性”、“自由”、“主体”、“他者世界”等等的产生,乡土的版图逐渐蔓延,而原有的对立也渐渐趋于一种包容性状态。第三部分主要从乡土浪漫书写特有的工具性“记忆”这一角度比较了两个时代作家“记忆”的构成和转变。以废名、师陀和韩少功为案例,考察了一代知识分子的“记忆体验”。对乡土的抽象认识直接推动了作家对自由本体的认识,由主体退回内心,企图获得一个彼岸世界,转移到还原一个更“边”与“远”的世界,体察人类的生存原貌。由此,可以发现,自由一方面是时代的逆行者,在20、30年代,作家们有了“自由”的姿态,却缺乏“自由”的力量。那种以故土为倚托的书写,加剧了个体与故乡的疏离,损伤了自由的实现。自由由内在宇宙返回到周围的世界,包括此岸的关怀,由单个的、孤立的自我,扩大到一种区域板块特征,兑现自由的承诺。第四部分重点讨论了“浪漫书写”精神结构中的情感性与作家们文学探索的关系。文章提出,执着于寻找人类栖息地是中国作家书写乡土的情感性原旨,现代作家的体验主要是以故乡的“重建”以取得生命中“神性”的恢复,然而故乡大都在“寻找中”失落,所以离乡就注定了“在路上”的情感准备；而寻根作家抛开了故乡已不再的假设,将人的本性拾回作为结局,文化寻根更大程度上是个体对自我的验证,即在一种穿越人与人之间疏离的大悲恸与大感动中领悟乡土,将乡土作为解决精神危机的手段。第五部分讨论了从乡土浪漫书写一个重要的审美策略“含魅”的形式与内容的变迁。“含魅”从形而下角度讲是民俗古风的习俗传统的演绎,从形而上角度看是对命运不确定性的思索；这一变迁的重要意义就在于相当多的中国作家开始由个人同国家对峙立场,渐渐转入在大民族背景下关注和思考个人的价值与发展。伴随新民主主义革命结束,以及建国后动荡社会变革的没入尾声为体验,这一思想立场的改变与新时期中国作家的本土经验密切相关。更多还原

【Abstract】 The essay summarizes the inherent rules of the novel’s occurrence in Chinese literature by the comparative analyzing the country romantic description in novels of 1920s,1930s and 1980s. Country creation is regarded as the depiction of the course of the modernization of China.Because novels exposure the situation of the country was nibbled in the course of the urbanization.The country tried to change the status of decline and it appeared the puzzle of future. In the past research, we usually pay attention to dig the effect of the modern transition from the comparative perspective of the difference of country and urban. However, difference can’t expounded the mentality change of the Chinese writers. The reconsideration of the the country romantic description in novels would probably reveal many details of the Chinese literature in the 20th century.The essay is composed of five chapters.The first chapter is introduction.A new literature genre came into being when romanticism connected with Chinese country. (The research object is set aside of the country romanticism genre of Yangyi) The new literature genre was more like as a creation method and a kind of spirit aspiration.It was an attitude of the subject to society reality, history culture and life. Even it was an existent bourn of human being. The development of the new literature genre has affected the society body’s value orientation, status of life, spirit appeal and appreciation of the beauty. At the same time, the development of society, society body’s spirit life and literature has counterforce to the romanticism. Two extensive country romantic descripetion appeared in the 20th century had two reasons. One is the idealism and life force of romanticism its own. The other was connected with the development of society. The country romantic description was comparative to realism in its earlier stage. And it had been an important part of literature of the new era in its later period. In the whole course, it was totally different from the spirit of Utopia of the Chinese ancient literature which had the symbol of back to country from battlefield. It overflew not cold, peace, continence and passive retreatism but enthusiastic descripetion of modern consciousness even its poetry and Idyllic descripetion. The essay summarizes the theory form by exploring the source of the country romantic descripetion in the 20th century and hackling the relevant research history commentary. Its theory form had come into being after the transfer from the imitation of outside world to the attention to individual inside world. It thought the exist of itself by the body of sensibility. The theory form set the basic character of country romantic descripetion including the“ghostly”. In fact, the country romantic description was not against critique of national character. From the May 4th Movement, one generation writer after another got tradition wisdom from society core ideology. The tradition wisdom was introjected as a part of their world view and character. It stayed there so deeply and obstinately that any theory couldn’t have effect directly. But the source and the core of the thought of human being is from the dealing with the circumstance. When Non-mainstream theory is discussed when it rushes out. And then it is understood, and turned into the present formmly. The original thought is renewed. This is the point that the country romantic descripetion in 1980s became more and more non-traditional romantic. It appeared the creativity of its own. It came from a justice heart. And it didn’t take time to cover the truest part of the noumenon. Writers could go over the lure of hunting scenery and grappled the part of the connection of art and people’s life. The presence of the country romantic descripetion made the literature in the 20th century present a picture of prosperity in spirit.The second part mainly discusses the value orientation of country, and the change of the influence of it. Peeling of the unified of complex appearance of spirit in literature creation, romanticism turned into the creation of the spirit of the Chinese literature in the 20th century. In a word, it was not the transplant of idea, but the experience and expression of the creation bodies’ life of their own. The writers of Luxun’s time mainly appreciated country on the stand of individual life. On the premise of the individual life, writers valued the building of nation, but it’s conflict with the development of individual. It could been named as a deep experience of country. The circumstance was changed when it came to zengqi-Wang. Those writers of the country romantic descripetion revealed their specific character fully. The remarkable choose of the writers of new times included independency and universality. Especially at the beginning of the root-seeking, the country’s period was extended and the original contrasting turned to be compatible as the effecting of the style of life, personality, freedom, subject, the world of other and so on.The third part compared the two generation writers’ composing and transformation of memory from the perspective of memory which was the specific tool of the country romantic descripetion. The essay studies the memory experience of a generation of the intelligentsia, taking examples of Feiming, Shituo and Hanshaogong. The abstract understanding of country directly froced writer to know free subject, which was return to inside, in order to getting an other world. They transferred to observe the original condition of life by senting back to the remoter world. Then, we can find that freedom was the converse orientation. Writers had the gesture of freedom, but lack the power of freedom in 1920s,1930s. The country description aggravated the distance of individual and country and did harm to the reality of freedom. Freedom was back from the inside world to environment, including the caring of here. It expanded to the character of area from individualistic and isolated ego, carried the promise of freedom.The fourth part mainly discusses the relation of sensibility of spirit structure of the country romantic descripetion and writers’literature research. The essay thinks that the ideologism of seeking for the habitat of human being was writers’original object of sensibility. Modern writers’experience was mainly the recovered of the character of holiness of life by the rebuilding of country. But country was lost in the course of seeking. Leaving country was destined the sensibility preparation of“On the Road”. The root-seeking writers abandoned the assumption of country’s lost and pick up humanity as the end. The root-seeking culture was more like a proving of individual towards themselves. It means that they understand country by the sorrow and sensation in the course of breaking the distance of people. Country became an method of solving the crisis of spirit.The fifth part discusses the transition of the form and content of“ghostly”which was an important appreciation of the beauty strategy of the country romantic descripetion.“ghostly”was the deduction of custom and tradition from the perspective of specific. And it was the thought of the uncertainty of destiny from the perspective of metaphysical. The important influence of the transition was many Chinese writers gradually transferred from the position of individual against nation to thinking the value and the development of individual in the background of nation. It was connected with the end of the New Democratism Revolution and the end of the society change after New China was built. The transition of spirit also had close relevance with Chinese writers’native country experience in new times.更多还原