【作者】 罗滋池；

【导师】 王鸿生；

【作者基本信息】 上海大学 ， 中国现当代文学， 2010， 博士

【副题名】以鲁迅、郁达夫、蒋光慈和茅盾为例

【摘要】 本文从现代性视野出发,通过体验、分析五四新文学家们的理论思考与创作实践,还原20世纪中国现实主义文学发生期的初始状况,并发掘这一时期留下的极为丰富而复杂的资源,以进一步推动现实主义文学的深入研究。论文采取“1920年代”这一相对集中的时间概念,指涉中国现实主义文学的发生期。它向上回溯至“五四”前,向下可延续到1930年代初,大致横跨“文学革命”到“革命文学”的转换阶段。建立这一研究框架的理由是:虽然中国现代性的文化发生期是在晚清,现实主义在清末民初的文学实践中已有所萌芽,但是现实主义形成相对自主和成熟的文学表现形式,还是在“五四”以后;正是在1920年代,出于对现代中国的不同理解、想像和诉求,作家们从各自的角度和立场重新诠释了外来的“写实主义”,并分别选择不同向度的叙事实践,且取得了示范性的文学实绩;因此,在整个现实主义文学的发展史上,“五四”以后的1920年代,可视为现代性语境下中国现实主义文学的发生期。本文认为,在这一发生期,因为现代性多层次的矛盾和错综复杂的时代语境,中国现实主义文学实际上呈现了极为复杂的面貌。大量文学史事实表明,现实主义在中国的发展,一开始即具有多种维度、多种指向、多种可能性。可以说,论文所提炼的诸种面向,大致可代表现实主义中国化初期的主要探索,同时也预示着现实主义在中国发展的可能路径。论文的基本内容如下:导论部分,主要从现实主义与现代性的关系角度,探讨现实主义何以会成为中国现代文学的主体,以及中国现实主义文学发生期即形成多种面向的社会、历史和文化缘由。第一至第四章为论文主干,依次以代表性作家鲁迅、郁达夫、蒋光慈、茅盾为例展开具体论述,旨在揭示现实主义多面向之间的叙事差异和不同的文学追求如何生成了1920年代的文学现实,并潜在地介入了其后现实主义不同面向的隐匿、消长和变化过程。其要点为:1、鲁迅/寓言面向。鲁迅的现实主义小说,常借助寓言化的艺术手段,充满了隐喻的张力。尤在《呐喊》、《彷徨》中,寓言性思维与现实意识的紧密勾联,泛时间状态、非情节化、反讽、集体心理刻划等艺术表现手法的广泛运用,往往使这些现实主义作品言此意彼、别有寄托,构成了独特的民族文化寓言;2、郁达夫/抒情面向。郁达夫颇主观的具有抒情风格的写实,曾打动“五四”后无数青年的心。20年代末30年代初,他努力地向所谓的客观写实靠拢,甚至于受革命的感召企图再现重大的社会现实,但离革命文学家们要求的“本质写实”依然很远,并遭到严厉批判。为此,郁达夫提出了一种新型的见解——“有情的写实”,这充分显示了他拓展现实主义的卓越目光;3、蒋光慈/理想面向。蒋光慈的实践也许说明,“写实”加“浪漫”是可行的。他在写实中坚持理想的做法,至少就文学史的事实来看,是“革命的浪漫主义”与“革命的现实主义”相结合的源头所在,也可以说是“两结合”的雏形。值得关注的是,蒋光慈初步建构了一套“革命文学”的叙事成规,1950、60年代革命现实主义文学中的集体主义、英雄人格、乐观精神等都可以溯源到他那里;4、茅盾/史诗面向。茅盾在现实主义道路上的辗转追求,集中表现在长篇小说的创作上。他希望小说反映“当下”社会生活的结构性存在,并能展示历史的进化运动,这充分体现出马克思主义唯物史观的影响。他所寻求的总体性真实,把一种宏大的、全景式的、史诗性的写作带入了中国现代文学史。结语部分指出,用不同修辞术语将中国现实主义初期多面向共时存在的状况所作出的区分,并不能取消各面向之间的相互转换、补充甚至递进关系。在鲁迅的集体心理刻划、郁达夫的个体心理发掘、蒋光慈的“个性解放”和“阶级革命”两结合、茅盾的总体性社会关系之间,现实主义就不同需求所表现出来的灵活性,充分展示了现实主义本身的适应性和生命力。更多还原

【Abstract】 Through experiencing, analyzing of May-4th-new-writers and their theoretical thinking and creative practice, this article restores the occurrence of the initial conditions of the 20th Century Realism in literature from the perspective of modernity. It also explores the extremely rich and complex resources during this period of time to further promote the research of Realism literature.The concept of time-the 1920s, which is relatively concentrated, is adopted in this article to designate the emergence period of Chinese Realism Literature. Approximately, it stretches across the transition phase from Literary Revolution to Revolutionary Literature, dating back to the time before The May 4th Movement and continuing to the beginning of the 1930s.The reason of constructing the analysis framework is: Although modernity in China’s culture originated in late Qing Dynasty and the literary practice of realism had been sprouting in the Late Qing Dynasty and the Early Republic of China, realism in literature was relatively autonomous and mature just after the May 4th Movement. It’s in the 1920s that the writers, owing to the different understanding, imagining and demands of Modern China, re-interpreted the alien’s "realism" from their own perspective and position. Different dimensions of narrative practice were adopted and the writers attained remarkable literary achievement. Hence, the 1920s after The May 4th Movement could be treated as the emergence period of Chinese Realism Literature in the context of modernity throughout the history of realism literature.The author argues that in the prime period of time, Chinese Realism Literature actually presents very complex outlook because of the multi-level contradiction and the intricacies of the era in modernity. Much evidence from the literary history indicates that there are many dimensions, directivities and possibilities of the development of reality from the very beginning. Roughly, the directivities mentioned and refined in the article can represent the initial stage of main exploration of Chinese Realism Literature, and also indicate the possible ways of the developing of realism in China.The basic contents of the article are as follows:After analyzing the relationship between realism and modernity, introduction discusses why realism can be the main body of Chinese Modern Literature and the social, historical and cultural reasons why Chinese Realism Literature had formed many dimensions in the beginning.Chapter I to IV, as the trunk of the article, taking the representative writers, Lu Xun, Yu Dafu, Jiang Guangci and Mao Dun successively as examples, reveals how the narrative difference and the different literary pursuit of multi-dimensions of realism generated the literary reality in the 1920s and potentially intervened in the process of getting hidden, growth and decline, changing of the different dimensions of realism afterwards. The main points are as follows:1, Lu Xun/the Dimension of Fable. Lu Xun’s realistic novels, often by means of allegory, were full of metaphor of tensions. Especially in "Scream" and "Wandering", fable thinking and realistic awareness was closely jointed, and the means of artistic expression such as pan-time status, non-plot, irony, collective mental characterization were widely employed in his realistic works. These works described something by referring to it as something else, forming a unique national culture fable.2, Yu Dafu/the Dimension of Lyric. Countless young people after the May 4th Movement were touched by Yu Dafu’s realism works with subjective and lyrical style. In the late 1920s and early 1930s, Yu Dafu tried approaching the so-called objective and realistic writing style, and even attempted to reproduce the major social reality under the inspiration of the revolution. But he was severely criticized for falling behind the revolutionary writers’ expectation of the "essence of realism". Eventually, Yu Dafu proposed a new view - "realism of mercy", which fully demonstrated his remarkable vision to expand realism.3.Jiang Guangci/the Dimension of Ideal. Jiang Guangci’s practice may show that "realism" plus "romanticism" is feasible. His realistic approach to adhere to the ideal, at least in view of the fact of literary history, is the origin of the combination of "revolutionary romanticism" and "revolutionary realism", it can be said the prototype of the combination. It should be concerned that Jiang Guangci preliminarily constructed the narrative convention of "revolutionary literature". Collectivism, heroic personality, optimism in the Revolutionary Realism Literature in the 1950s and 1960s can be traced to his works.4.Mao Dun/the Dimension of Epic. His pursuit of realism with twists and turns embodied in novel creation intensively. He hoped that novels reflected the "present" structure of social life, and could display the evolution and campaign in history. It fully reflected the impact of Marxist historical materialism on Mao Dun. He sought the general nature of reality, bringing a kind of grand, panoramic view and epic writing into the history of Chinese modern literature.Epilogue concludes that the classification of the different dimensions of the beginning of Chinese Realism Literature while using the different rhetoric terms can’t eliminate the mutual transition, supplement and even progressive relationship among the different dimensions. Realism had shown flexibility according to different needs, such as Lu Xun’s collective mental characterization, Yu Dafu’s individual psychological depiction, Jiang Guangci’s combination of "personal liberation" and "bourgeois revolution", Mao Dun’s totality of social relations, fully displaying the adaptability and vitality of realism itself.更多还原