【作者】 颜琳；

【导师】 宋剑华；

【作者基本信息】 湖南师范大学 ， 中国现当代文学， 2008， 博士

【副题名】中国红色革命叙事生成阐释

【摘要】 红色革命叙事是一个“家族”概念,它包括“左翼革命文学”、“解放区文学”、“新中国文学”等。论文着重从文化、政治、哲学、社会学和文学思潮演变等多重角度,对红色革命叙事的生成进行全面阐释。第一章运用比较的方法,着重对红色革命叙事生成的文化语境作现象学的分析,探讨了“五四”启蒙文学、日苏普罗文学、毛泽东的《讲话》对红色革命叙事生成的影响,指出“五四”启蒙文学“面向西方”又“背离西方”的中国性特质给红色革命叙事的生成孕育了一个可能性前提;“宗法”苏日普罗文学直接导致了中国左翼革命文学的发生;毛泽东《讲话》的发表全面规范整合了解放区文学,形成了红色革命叙事对五四新文学以及西方文学的文化审美形态的扬弃和超越,构筑了具有鲜明中国性的新型文学观念、形态、体式。第二章主要探讨阶级文学观的形成。首先追溯和梳理了阶级、阶级意识和阶级叙事等概念的形成,认为“阶级武器论”文学观的提出,强调了文艺作为意识形态的能动性作用,目的在于为自身的社会价值和社会作用寻找一条恰如其分、合乎社会认同标准的自我确证之路;“党”文学观是党的文艺政策的具体实践,体现了政党伦理对文学的全面渗透,使红色革命叙事实现了从“无产阶级文艺”到“农民文艺”的重心转移;同时指出在“阶级视野下”的“阶级斗争”表达,完全成了红色革命叙事的本质化和逻辑化叙事;而集团主义对个体意识的僭越与压抑致使个人主义以及个性解放主题很少有理直气壮地出现在红色革命叙事的版图之中,这不能不说是一种异化和遗憾。第三章着重探讨了红色革命叙事中的“历史主体”形象的建构。指出历史主体的塑造是阶级叙事建构的支撑点。作为历史主体的工农大众,其实是通过知识人命名得以实现的,他们通过想象性地表达工农大众在革命中的主体地位,来揭示出中国无产阶级革命的独特性——农民群体作为革命主体现实存在的合理性。其一,运用罗尔斯的正义伦理原则,指出工农大众是左翼作家建构与虚拟的正义伦理载体。其二,指出解放区文学的“新人”是一种意识形态和政治实践理性的独特编码,它体现了党的主体权威;“新人”形象塑造源自于作家对马克思主义意识形态的真理终极性的信奉和五四启蒙理想的赓续,是作家的阶级文学观创作理念的体现和营造一种负债意识的政治需要。其三,指出工农大众作为“历史主体”形象在建构中始终是被建构者而非建构者,在这个意义上,赵树理的超出阶级视野下的“农民化”叙事就具有了深远的历史存在意义。第四章着重探讨了叙述主体的身份认同。认为左翼作家作为话语主体试图通过“期望中的历史主体”的塑造和“革命+恋爱”小说模式来确认自己的话语地位;认为否定五四个性主义思想与左翼作家过分迷恋无产阶级世界观的优越性以及他们对自我的认知有关;根据葛兰西传统知识分子和有机知识分子理论,分析了解放区作家成为红色歌者的转换过程和深层原因。其中指出:第一,通过“洗心”和“结合”等教化与强制的规驯机制与方式,促使知识分子有机化身份的形成;第二,“红色歌者”的身份认同很大一部分原因是出于文人内在的真理性道德认知和“圣地”情结的结果;第三,体现了知识分子自我“增势”的意图,即意在纠补作为文人在全民族抗战形势下束手无策而心理失衡的无奈现实。第四,“公家人”的身份使得延安文人不得不依附于体制,故作家的被规训和文学的被改造,其实是作家与政党政治共谋的结果。第五章主要探讨了红色革命叙事的美学成规。泛阶级化的叙事图式和农民狂欢化的表达范式,实际上是“农民意识形态”的意识形态化,远离了真正的农民写作;集体写作作为组织化的文学生产方式,是保证党的权威话语强行渗入到文艺创作中的最佳“民主”方式,也是“作者”人格成为社会人与阶级人格的有力保障。实际上昭示了党的权威意识形态控制下文学写作的性质以及文学写作的政党化倾向。本文认为,红色革命叙事最大特点在于阶级性政治品格,文学并非其终极性追求。因此提出了中国文学发展应该廓清文学的政治性、现代性和超越性等几个方面的问题。更多还原

【Abstract】 Chinese Red Revolution Narration（CRRN）is a concept of "Family",which includes the "Left-Wing Revolutionary Literature", "Literature in the Liberated Areas","Literature in New China." This dissertation attempts to put a clear interpretation on the formation of the Red Revolution Narration in China from different perspectives of culture,politics,philosophy,sociology and the evolution of literary trends,etc.By comparision,Chapter One makes a phenomenological anlysis of culture context of the formation of CRRN and discusses the influence of "May,4^thEnlightenment literature","Japanese -Soviet Proletarian literature","Mao Zedong’s Speech" on the formation of CRRN.The author puts forward that "May,4^thEnlightenment Literature",typical chinese charateristics,"Western-oriented" as well as "deviation from the West",gave birth to the possibility of the formation of CRRN.Patriarchal "Japanese -Soviet Proletarian Literature" directly leaded to the occurrence of "Left-Wing Revolution Literature "in China.The publication of Mao Zedong’s Speech standardized and reorganized the Literature in the Liberated Areas,which gave a good foundation for the formation and improvement of CRRN,and even its surpassing"May,4th Enlightenment Literature" and the cultural aesthetic formation of western literature,and the establishment of a new form of literature with new concept and style with typical Chinese Characteristics.Chapter Two makes a thorough inquiry about the formation of class literary viewpoint.To begin with,the author attempts to explore and reorganize the formation of the concepts of the class,class awareness and class narrative;puts forwards that the literary viewpoint on " Class Weapon" attaches great importance to classifying artistic as an ideology dynamic role,which aims at seeking for an appropriate role in the society in accord with the community standards of self-identity confirmed road for the role of the initiative and its social values.The Party’s perspective of literature is the pratice of the Party’s arts policy,which symbolizes that literature has been comprehensively infiltratred by the Political Party ethics,contributes to the shift of CRRN from "Proletarian Literature and Art" to " Farmers Artistic".Meanwhile,the author also points out that from the perspective of the class,the expression of Class Struggle has completely become logic narration with Red Revolutionary nature. Collectiveism has overstepped its authority and held back the individual consciousness,caused individualism and individual liberation themes rarely confidently to appear in the field of CRRN,which,to some extent, is an alienation and regret.Chapter Three focuses on discussing the establishment of the image ot"historical subject" in CRRN.The author proposes that to portray historical mainstay is the pillar of the construction of class narration. Actually,the mass workers and farmers in China,as the historical mainstay,began to hold a dominant position in Chinese history with the help of some Chinese learned people’s giving the name.By expressing imaginatively that Chinese workers and farmers held a main position in the course of Chinese revolution,these people tried to reveal the uniqueness of Chinese Proletariat Revolution---the feasibility of mass Chinese farmers’ being in existence as the mainstay of Chinese Revolution.First of all,based on Rawls’ principles of justice and ethic, the author points out that the mass Chinese workers and farmers are the justice and ethical carriers invented by Left-Wing writers.Besides,the author raises a point that the "new images" in the Liberated Areas is an unique code mode mingled by an ideology and political practice.To portray the "new images" is originated from the author’s strong conviction of the truth of Marxist ideology and the continuation of enlightment ideals from May,4^thMovement,which reflects the creative class literary writing ideas,and creats a sense of polical necessity in debt consciousness.In addition,the author advances that the mass workers and farmers,as "historical mainstay",are consistently being constructed, rather than being constructors.In this sense,Zhao Shuli’s "farmerized" narration beyond the class has found its far-reaching historical significance.Chapter Four maily discusses the identity confirmation of the narrative subject.The author puts forward that,as narrative subjects,the Left—Wing writers attempt to confirm their discourse position through the molding of "historical subject in expectation" and the creating of "Revolutionary Love" novel model.The author believes that denying the individualism of "May,4^th,Movement" has something to do with Left—Wing writers’s infatuation with the superiority of the proletariats’ life view on the world and their self-consciousness.Besides,according to Gramsci’s theory of traditional and organic intellectuals,this chapter analyzes the transformational process and its deep root of the writers’ changing into "singers of the red cause" in Liberated Areas.What’s more, the author raises the following points:firstly,the formation of intellectuals’ organic indentity is facilitated by educational assimilation such as "purification" and "combination" and mandatory taming mechanism and methods;secondly,the red singers’ indentity confirmation is,to a great extent,out of the writers’ internal truthful moral awareness and the result of complex of "sacred place";thirdly,the intention of intellectuals’ self—empowerment is reflected,that is,it aims at correcting and supplementing helpless reality in the nation-wide anti-Japanese war situation;forthly,the "Public Servicemen" identity causes Yan’an writers to rely on a system,hence the writers’ admonishment and remoulding actually being the result of conspiration between writers and party politics.Chapter Five probes into the aesthetic established practice of revolutionary narration.The expressing patterns of Pan—class narrative scheme and farmers’hilarity,which in fact is ideologicalization of "farmers’ ideology",is alienated from the true farmers’ writing.As an organized literary producing way,collective writing is the best "democratic" method to guarantee the infiltration of the Party’s authoritative utterances into literary creation as well as forceful protection of author’s individuality becoming the society and class personality, which in fact declares the essence of literary writing and its political party tendency under the control of Party’s authoritative ideology.This disserrtation proposes that political characteristics with class nature should be the greatest feature of CRRN,and literature is not its ultimate pursuit.Therefore,the author believes that the development of Chinese literature should clear up the nature of literature in severval aspects,such as in politcs,contemporary and transcendence.更多还原