【作者】 高丽娜；

【导师】 温兆海；

【作者基本信息】 延边大学 ， 中国现当代文学， 2010， 硕士

【摘要】 自二十世纪二十年代末至文革前,涌现了大量描写中国新旧民主革命和社会主义革命的革命叙事作品,《虹》与《青春之歌》就同属这类作品。这两部长篇小说的写作时间相距二十多年,但在人物设置、情节模式、话语策略方面有诸多相似之处,本论文综合运用结构主义批评、女性主义批评、社会历史批评等文学批评方法对二者进行比较研究,从内容和形式两方面剖析两部作品的同中之异与异中之同,探讨背后历史和文化的原因。两部作品的主人公都是“女性知识分子革命者”,论文首先拆分了人物身份三个维度的限定因素,分别从对女性、知识分子、革命者的描写中加以分析。两部作品都采用了众男一女模式,将女性推到了历史前台,表面看来是彰显了女性话语。但从女性与男性的关系看,女性始终处在被操纵、被支配的低位,而男性处于领导者、掌控者的高位；从对女性的描写来看,作品都是从男性的视角描写女性,突出的都是女性的自然属性·,因此,作品肯定的都是男性气质。在对知识分子的描写上,《虹》凸显了知识分子,《青春之歌》则肯定工农群众。面对革命者与非革命者,《虹》持中立态度,《青春之歌》肯定了共产党领导的革命者。人物描写中的重心偏倚体现了作品对革命的肯定与强调。爱情与个人情感相联系,体现着个人的生命形态,而革命需要集体力量,体现着集体意旨,爱情和革命存在着矛盾；家庭是封闭的,革命是开放的,家庭与革命之间亦存在不可调和的矛盾。作品都采用了“革命+恋爱”模式与离家模式,但作者肯定的人物都舍弃了爱情和家庭,这表现了作品对革命的依归。两部作品选择的故事时间的起始点和结束点都很具革命色彩,两个时间段也都是中国革命的重要阶段。故事地点的选择也体现着浓烈的革命意识。两部作品都有故事原型,但作者都沿着素材的革命方向开掘,且对素材的加工过程受强烈的革命意识支配。《虹》与《青春之歌》无论在人物描写还是叙述策略方面都从多个角度肯定和强调革命,这是两部作品的深层相似之处。20世纪中国革命运动连续不断,在长期的革命运动中形成的革命文化具有暴力性,其特征表现为对革命的嘉许、向往、信任和遵从。正是革命文化的延续使两部作品不约而同肯定了革命。《虹》在肯定革命的同时,也在质疑、批判、反思革命,具有升华性；《青春之歌》具有党派意识,全盘肯定革命,显示出反升华性。这种差异的形成与作家个体经验、作家与作品的距离、作品与历史的距离、时代文学观念的变迁有关。存在决定意识,在这几重因素中,后一种因素起着决定作用。在革命叙事作品中,肯定革命是其中心观念,在这种观念的支配下,此类作品形成了自己的创作成规。随着革命不断被神圣化,革命叙事作品的反思、批判意识日弱。作为这股创作潮流兴起端和结束端的代表作,《虹》和《青春之歌》标示着革命叙事作品的因承与嬗变。更多还原

【Abstract】 A large number of revolutionary narratives which describe old and new democratic revolution and socialist revolution in China’s revolution emerge from the late twentieth century to the Cultural Revolution. Rainbow and Song of Youth are the same type of compositions. The period apart 20 years between the two novels. But there so many similarities between the character set, plot mode and discourse strategy. The present paper synthetically uses literary criticism methods like structuralism criticism, feminine principle criticism, and social history criticism and so on to research the two works. It not only analyses the differences and similarities of two works from both content and form but also explores the historical and cultural reasons.The leading characters of two works are all female intellectual revolutionaries. The paper splits the three dimension parameters of female, intellectual and revolutionaries to describe characters. The two works adopts public man and a woman model to push women on the stage of history. It appears a highlight area of the female discourse. However, if we research between women and men relationship, we will find that women always be manipulated and dominated. And men are leaders and playmakers. The works describe female roles from male perspective. Then women’s natural properties are highlighted. So, these two works all emphasize masculinity. On description of intellectuals, Rainbow highlights intellectuals, and Song of Youth highlights workers and peasants. When describing revolutionaries and non-revolutionaries, Rainbow is neutral, and Song of Youth affirms those revolutionaries leaded by Communist Party of China. The focus bias on characterization reflects certainty and emphasis about revolution. Love associates with personal feelings and embodies the individual’s life form. The revolution needs collective strength and embodies collective intention. A contradiction exists between love and revolution. There is an irreconcilable conflict between family and revolution because family is closed and revolution is open. Although the works adopt a "revolution plus love" mode and home mode, the positive characters abandon love and family. This shows the works’revolutionary minds. The starting point and end point of two stories selected by works are revolutionary. The two time periods are also important stages of Chinese revolution. The choices of the ovations where the stories take place also represent strong revolutionary consciousness. Authors excavate materials along the direction of revolution and process materials dominated by a strong sense of revolution. Rainbow and Song of Youth affirm and stress revolution from multiple angles on descriptions of people or narrative strategies. This is the deep similarities between the two works. Chinese revolutionary movements are continuous in 20th century. The revolutionary culture formed in long-term revolutionary moves has violence nature. Characteristic of revolutionary culture shows to praise, yearn for, believe in and comply with revolution. It is continuity of revolutionary culture makes two works affirm the revolution simultaneously. Rainbow queries, criticizes and reviews revolutions while affirming the revolution. So it has elevator nature. The consciousness about party groupings and the affirmation on revolution in Song of Youth demonstrate the work’s anti-sublimation. The difference relates to writers’individual experiences, the distances between writers and works and between works and history, changes of the literature idea of era. In these factors, the last factor is playing a decisive role because the existence decides consciousness.Affirming revolution is the centre idea in revolutionary narratives. This kind of works has formed their own creation norms dominated by the centre idea. Introspection and criticism consciousness in the works are weak on day as the revolution is being sacrificed constantly. Rainbow and Song of Youth indicate inheritance and evolution in revolutionary narratives as masterpieces of the creative trend’s beginning and ending.更多还原