【作者】 金蕾蕾；

【导师】 卜召林；

【作者基本信息】 曲阜师范大学 ， 中国现当代文学， 2004， 硕士

【摘要】 中国现代文学史上，郁达夫是一位颇具特色的文学家。这首先就表现在他的文学创作上，以《沉沦》为代表，他以一个“颓废者”的形象游走在个性解放、民族解放的舞台边缘，用一种前所未有的方式直接表现人的性心理。自我暴露，主观抒情，宣泄人内心的苦闷，表现人真切的内心世界和情绪活动。这种创作对于当时的社会条件和思想环境无疑是一记响雷，惊醒了整个中国文坛，预示着人及人性的复归。他将这种敢于冲破一些封建束缚的精神运用到文学批评当中，使他在中国现代文学批评史上，也占有一席之地。但是由于他的文学批评多散见于报端、序言、书信之中，不太系统，远没有小说的影响面大，使得后人对其文学批评的研究远没有达到对他小说的研究那样透彻。即便是相关的论文也大多集中在他文学批评的某一个层面，如审美性、批判性等等，很少有对于他文学批评轨迹进行长篇系统地分析的。基于此，本文试从文化心理切入，以时间发展为轴，分前后两个时期，集中探讨郁达夫文学批评的发展脉络。以这一点向外延伸，将更有利于重新评价“五四”文学作家群体的人格风貌，重新评价“五四”文学对中国当代文学的影响。 一个多世纪以来，无论是对西方文论的引进，还是中国文论自身的建设，中国现代文学批评都无法改变在审美性与功利性之间的纠葛。中国现代文学批评家，特别是“五四”时期的文学批评家准确地掌握了西方文化反封建的切入口，但是他们无法漠视日趋凋敝的社会现实以及潜藏在内心深处的中国传统文人的文化心理规范。以郁达夫的文学批评作为个案分析，不管是在他早期文学批评里，多么坚持个性的高度张扬，推崇“天才”的创作，义无反顾地打破所有束缚个性发展的“镣铐”，最终都难以改变作为中国传统知识分子的批评立场，具有一种先天的“悲天悯人”的情结和“以天下为己任”的士大夫传统。从而在后期的文学批评中，从追求文学批评的审美性转变为注重批评的实用理性精神，我们看到他具有归附时代主潮流的趋势，主动承担了社会批判的重任。但是简单的将他的文学批评归入政教中心论的范畴，又在很大程度上抹煞了他在注重文学的社会功用的同时，依然不改对文学艺术性的守望。可见，郁达夫的文学批评始终是纠缠在审美性与功利性、人本主义和民本主义，或者说“个人”与 “群体”之间的。 郁达夫早期的文学批评所呈现的是对传统文化心理机制的冲撞。这种冲撞从三个方面展开。首先，在精神层面，他寻求灵魂的绝对自由，从卢梭的身世、经历上他汲取了反杭的精神财富，打破所有束缚文学创作的枷锁。第一个针对的就是一个强大的实体一一国家。在他看来，国家的存在消解了个人的意志，阻碍了个人的绝对自由，更主要的是扼杀了先觉者的真声音，是一切伪善的源头。文学创作应该源于“艺术冲动”，是一种“生命力”的变形，是当外界条件与内心要求发生冲突的时候，由内而外的，发自内心的呐喊。同时还要具有一种超越一切的精神，推翻一切君权、父权、夫权、神权、族权，将“人”置于至高无上的位置。其次，结合创作，他偏执于人性的非理性存在。传统的理性论调下的“人”，是被压抑的个体，抹煞了人的创造功能，使人一步步沦为维护封建统治的工具，没有感情只有理性的怪物.而郁达夫从“生的苦闷”、“性的压迫”、“死的恐怖”三个层面展开对这种扼杀人性的封建文化的批判。进一步颠覆所谓的社会道德，揭示人性的最本真的生存状态。最后，从美学层面，建构起了他“唯真唯美的”美学标准，也就是一种超阶级、超现实、超功利的美学标准.尤其是他将道德进行了重新的定位，指出，“道德的本质是天良，天良的运用是良知，纯正的批评便是良知的表现.”可见，郁达夫早期的文学批评是要试图在文学领域建构起一个真诚、自然、唯美的艺术空间。 后期文学批评中郁达夫注重对传统文化心理机制的整合.特别是在文学主体性的问题上，他将“儒治世、道治身、佛治心”的传统知识分子文化心理机制用全新的现代话语进行演绎.批评家借鉴了国外的一些先进的学术思维方式，如进化论、心理分析理论等等，融合了传统的“缘情”的表现方式，使得他的文学批评具有非常鲜明的西方近代批评中推理思辫的色彩，同时也不缺乏特有的美学光泽.特别是三十年代以后，郁达夫从一个热情奔放又敏感伤怀的状态中逐渐冷静下来，审慎地剖析了社会的客观现实.随着民族矛盾恶化，革命的呼声已经使任何人都不能滞留在自己的小圈子当中。他试图走出原本固守的纯文学的乐土，在追求精英意识的同时融入了大众化的时代特色。于是我们看到他走出“沉沦”的泥淖，在革命的主潮流中突出强调了文学的社会功用职能，从“天才”论走向了“文学的大众化”。但是他并没有完全抛开高蹈超拔、追求自然恬静的人生理想。在与现实生活亦步亦趋的过程中，他始终坚持文学创作中的艺术精神和美学特质。具体表现在他继承儒家文化中“修身、齐家、治国、平天下”的哲理，走出“沉沦”，但同时坚持艺术创作的自由、个性;发扬道家文化中“自然无为”的处世哲学，但追求建立开放多元的文化发展格局， “更多还原

【Abstract】 In modern literature history, Yu Dafu is a special writer who is represented in his work of" degradation ",in which he explored human being’s sexual mind with the advocating of self-exposure, passionate expression and the release of inner pain .Such kind of writing style shaked the contemporary Chinese Literature and symbolized the venture of human nature. His spirit of pursuing freedom and braking the confine of feudalism make him remarkable in the Modern Chinese Literature Critical. With the inadequency of his systematic writing , we attempt to discuss the trace of his literary critical from the perspective of temporal scale, in which it is divided into an early and later stages.From the 20th century, Chinese modern critical literature can not depart form the matter between aesthetic and political. Chinese modern literature critic, especially those who live in the early of this century can take hold of the key of feudalism. On the other way , they can not neglect the bewilder of social reality and the traditional Chinese mind. For example, in the critical literature of the Yu, no matter how high he express his character, praise the genuine writing, he can not change the situation of the Chinese traditional writer.The characteristic demonstrated in Yu’s learly literary critical is his impact upon traditional literary mind. The impact is unfolded from 3 aspects: firstly, in the dimension of spirit ,he pursues the freedom of soul, in which he first attacks the entity of country. Because in his opinion , the existence of country erased individuals’ mind and confines individuals’ definite freedom, and the most important is that country kills the real voice of pioneers, so it is the source of fakeness and kindness. Secondly, he favors the irrational existence of human being .Traditional concept lf "human being" is the entity of suffocated individuals, and it kills human being creation ,and step by step it reduce human beings intorational animals without emotion. While Yu criticises these from the aspects of "the living pain", "sexy confinement" and " death scare". Finally , in the perspective of Aesthetic , he constracts his aesthetic criterion ,which is the above-class ,above-reality, above-writing. Therefore, the literary critical of Yu designs to establish a sincere ,natural and aesthetic artistic space.In his later stage of Literary criticize , Yu emphasizes the integration of traditional literary mind. Particularly in 1930s,Yu clam down from the state of being passionate as well as sentimental ,he observes the social reality especially the contemporary ethnic conflict. Yu got out of his own mere literary sphere and involved himself into the mass tide. Then he released the confine of " degradation ", and began to emphasize the social function of literature. He turned into the mass literary from the initial genius. But he did not forget the pursuit of life expectation . In the combination with reality , he maintain the artistic spirit and aesthetic spirit ,but he found a precise integration of two style, precisely reflects the esthetic value of literature.From the change between Yu’s early and later literary critical, it is shows that under the influence of the traditional literary mind, individuals are have to brake the confine .Yet Yu’s pursuit made a new height with his image of freedom and individual pursuing . However, an individual who claims to achieve a real liberation would inevitably and up with a such stronger collective voice. Therefore , it is seen that his later literary critical manifests and kind of conflicting mind.更多还原