【作者】 解孝娟；

【导师】 黄万华；

【作者基本信息】 山东大学 ， 中国现当代文学， 2008， 博士

【摘要】 五、六十年代旅外作家和八、九十年代“新移民作家”是二十世纪继“五四”时期大规模的留学浪潮之后两个大的移民作家群体,与“五四”时期的前辈们不同,他们出国后大都定居国外。定居国外给了他们与国内作家不同的生活经历和文化视野,从而使他们的创作呈现出与国内作家不同的面貌。通过对这两个移民作家群体小说文本的解读分析,彰显他们的小说创作折射的历史光影并考察其在20世纪中国文学史上的地位和独特影响是本论文的目的之一。作为两个先后移民的作家群体,五、六十年代旅外作家和八、九十年代“新移民作家”的小说创作呈现出相同母体下的相似或差异,这就为对他们进行群体比较提供了前提,在此前提下考察这两个群体的阶段性和统一性并探究移民文学的发展前景是本论文另一个努力的目标。很多学者已经认识到五、六十年代旅外作家和八、九十年代“新移民作家”小说创作的重要价值,并取得了可喜的研究成果,但目前对这两个作家群体的研究还主要处在对单个作家作品的解读分析和作家专论阶段;虽然有少数学者将这些作家归类,进行群体研究,出现了一批学术论文和文学史专著,但从宏观上对这两个作家群体进行比较研究的专著和学位论文还很少。因此,本文在借鉴前人研究成果的基础上,以“二十世纪五、六十年代旅外作家与八、九十年代‘新移民作家’小说比较研究”为题对这两个作家群进行比较研究。本论文共分为六个部分。“引言”是本论文的研究前提和论证的出发点;正文的四章分别从四个不同的角度对这两个作家群进行比较研究;“结语”对正文内容作一个总结,并指出这两个作家群在二十世纪中国文学中的位置,揭示这种比较研究对当下文学创作的重要意义。“引言”部分对五、六十年代旅外作家和八、九十年代“新移民作家”这两个概念予以界定,并说明其成员构成。五、六十年代旅外作家的创作迥异于同时代的大陆文学,尽管传承了“五四”新文学“人的文学”传统,但他们的艺术观念和文学技巧却已与“五四”新文学时期大相径庭了。他们把西方现代主义中的意识流、神秘主义、存在主义等观念和技巧运用到文学中,创作出大量质量可观的现代主义之作,从而改变了中国大陆文学自一九四九年之后长达三十年的忽视艺术技巧的状况。八、九十年代“新移民作家”大多是中国大陆八十年代“文学热潮”中的风云人物,他们的现代主义实验在八十年代产生了相当大的轰动效应,可以说是对五、六十年代旅外作家现代主义小说实验的隔代呼应。同时,八、九十年代“新移民作家”与五、六十年代旅外作家一样出国后处在东方与西方文化碰撞交融的多元文化语境之中,新的身份、新的视野与新的生活赋予了他们创作的新鲜血液,使他们的创作展现出只有在异域才能产生的思想、情思、叙事与修辞。相近的文学创新精神与异域生活的处境为这两个作家群进行比较提供了前提。第一章从本土与异域的角度探讨了五、六十年代旅外作家和八、九十年代“新移民作家”进行现代小说实验的背景和内容。本章认为五、六十年代主要以台湾为出发地的旅外作家围绕《现代文学》进行的现代小说实验是继“五四”之后二十世纪中国的第二次小说实验高潮,并以白先勇、欧阳子、丛甦等作家为例分析了五、六十年代旅外作家现代主义实验所采用的精神分析、存在主义、意识流等文学技巧,认为他们的小说创作构成了对同时期大陆文学的潜性互补。八、九十年代主要以中国大陆为出发地的“新移民作家”中刘索拉、刘西鸿等的小说创作则是现代主义小说在二十世纪中国大陆文学中的又一次接续,尽管这次小说实验的规模不及五、六十年代旅外作家,但都反映出小说家们借用“他山之石”的时代急切。随着这两个作家群体创作的成熟,他们的小说体现出在异域背景下向本土文学传统回归的倾向,主要表现为恢复时间的中国“诗意”和对传统文化的化用,从而为中国文学现代与传统间的沟通提供了有益的经验。第二章以文化人类学的视域来探讨“他者”之境在五、六十年代旅外作家与八、九十年代“新移民作家”小说中的发展和变迁,并努力通过文本分析揭示了这种发展变迁的具体表现和深层原因。五、六十年代旅外作家集中表现了早期移民的精神困境和信仰迷失,主要体现为“他者”的生存困境、异质文化间的隔膜与冲突以及浓烈的文化乡愁。由于全球化大潮的冲击和现代传媒的迅速发展,八、九十年代“新移民作家”没有像五、六十年代旅外作家那样陷入弥漫不尽的文化乡愁中,全球化带来的开放视野和消费意识形态对人的社会归属的深刻影响以及海外华人社区的改善使他们的文化乡愁淡化,并对移民、漂泊有了开放的视野和不同的文化情怀。主要体现为越界跨国的人性书写和对文化冲突的深层揭示及深刻反思。五、六十年代旅外作家和八、九十年代“新移民作家”的漂泊感与寄人篱下的境遇使他们的文本充满身处异域的感受和深思,并展现了两个移民群体文学的阶段性和发展统一性。他们对异域处境的书写不仅承接了现代中国小说与古典文学中“去国怀乡”的主题,而且展现了他们在中西文化交汇冲突中的感受和深思,从而为这一主题增添了新的向度。第三章通过五、六十年代旅外作家与八、九十年代“新移民作家”触摸中国的两种方式探讨了旅外经历给予他们创作的独特影响,揭示了他们这两种类型的小说创作在二十世纪中国文学及当下文学创作中的独特意义。由于移居台湾又定居国外的双重放逐的经历以及五、六十年代的美国对大陆的封锁政策,五、六十年代旅外作家被隔绝在中国之外,无从感受新兴的祖国。异域生活的孤独与浓郁的文化乡愁使他们渴望与祖国母亲获得更多的情感系连和情感依托,于是,怀念青春记忆中的故国就成为他们触摸中国的一种方式。八、九十年代“新移民作家”都是从大陆移居国外的,全球化的开放环境与消费意识形态笼罩下的地域趋同使他们的文化乡愁大大淡化,对人性的探索成为他们小说的主题。但原乡的记忆已化作了情感、审美或潜意识紧紧地缠绕着他们,使他们的小说时时闪现青春与故国家园相连的影子。对原乡进行温暖的怀想之外,故国家园的痛苦与灾难也牵动着海外游子的心。于是,对灾难的忧患与写实就成为五、六十年代旅外作家和八、九十年代“新移民作家”触摸中国的另一种方式。由于身处异域,五、六十年代旅外作家的文革写实就显现出暴露的当下性和圈外人的独立性,八、九十年代“新移民作家”对幽暗历史中的人性探索也独特而深邃。第四章用个案研究的方法兼以女性主义的视角探讨两个旅外作家群“女性言说”的异同,并揭示这两个群体与具体作家在二十世纪中国文学女性言说中的地位。五、六十年代旅外作家不约而同地对女性进行了集中的书写,填补了同时期大陆女性言说的空白,并昭示着其后女性言说的某些走向。他们没有对女性进行理想主义的想象,也没有如后来九十年代大陆流行的女性主义作家那样挑起男女两性的战争,而是围绕女性的周遭或女性自身开掘,或是表现了在封建势力的压迫、传统思想的束缚、家庭观念以及女性性格心理特质等因素制约下女性解放的曲折和迂回,或是对女性的自由与追求以及女性情欲进行大胆的言说,表现出冷静犀利的眼光和凝重的深度思索。本章以於梨华笔下的在传统因袭与家庭中徘徊的女性、欧阳子笔下的女性的动态心理瞬间和白先勇刻画的今与昔、爱与恨纠缠的女性世界为例,对五、六十年代旅外作家“女性言说”的特点进行了分析。八、九十年代“新移民作家”的“女性言说”正处在女性主义文学的大潮中,体现出了女性主义的和鸣与超越,虹影的创作就鲜明地体现出性别战争的硝烟及其末路。由于身处中西文化交汇的特殊环境,两种文化的交流碰撞使八、九十年代“新移民作家”的女性身体写作渗透进了更多的文化因子,从而在另一个角度把大陆流行的“身体写作”的羊肠小道扩展开来。在大部分八、九十年代“新移民作家”扩展的身体写作在身体消费的图景里也显得单薄无力的时候,严歌苓以丰厚的女性言说及时弥补了这一缺陷,她塑造了纯然、宽厚的“地母”形象并高扬了女性的热血与崇高,在令激情叙述回归的同时,有意对现行的女性个人化写作、私语型写作进行了规避,这是她对当下女性写作的重要贡献。“结语”部分总结五、六十年代旅外作家与八、九十年代“新移民作家”在中国文学史中的地位,认为五、六十年代旅外作家曾长时间游离于中国文学史之外,但正是游离使他们的创作避免了政治高压的宰割,对五、六十年代的大陆文学构成了潜性互补,从而丰富了五、六十年代中国文学的格局;八、九十年代“新移民作家”由大陆移民国外,他们一直享受大陆的文学传统,移民之后对大陆当下言说的介入使他们的创作直接构成了当下中国文学的一个不可分割的部分。而作为两个先后移民国外的作家群体,五、六十年代旅外作家和八、九十年代“新移民作家”的小说创作体现出了统一性和发展的阶段性。作为较早的移民作家群体,五、六十年代旅外作家的小说创作带有较浓的“留学生”文学的色彩,狭窄的“留学”人员生活题材使他们的创作陷入平面化和狭窄化的困境,尽管他们都作了不同程度的突破,但相对于后来的八、九十年代“新移民作家”的小说创作,他们的小说还是带有了不可避免的阶段性。八、九十年代“新移民作家”承接了五、六十年代旅外作家小说创作的某些母题,但作为后期移民所处的特殊境遇使他们的文学视野较为开阔,个体时代在文学上的折射也使他们对异域生活中的人性探索更为深入和多元。尽管他们的创作在某些方面仍需深入开掘,但其小说创作的前景还是令人期待的。更多还原

【Abstract】 The Authors Traveling Abroad in the 1950s and 1960s and the New Emigrant Authors in the 1980s and 1990s are two big writer groups in the 20th century except the writers who were studies abroad in the May fourth Movement period. The two groups differed in that they lived abroad, which offered different life experiences and horizons leading to exotic look in their writing. One of the purposes of this dissertation is to evaluate the position and their influences of the two groups in Chinese literature history by an analysis of the novel texts and the society within. Another purpose is to investigate the disparities and similarities of the two groups and foretell the development of emigrant literature on the premise of the fact that they shared some similarities.Many scholars came to realize the values of the two groups, and have made some achievements. However, there are none of the comparative studies except the text studies, the author research, or the classification studies. Therefore, it is necessary to do a comparative study of the two groups on the basis of the achievements of others.This paper is divided into six parts. The introduction is about the premise and the start of the reasoning. The body part that consists of four chapters mainly concerns the comparative studies from four points of view. And the conclusion points the literary position of the two groups and the significance of the research.The introduction defined the two groups and the composition of them. The creation style of the authors traveling abroad was greatly different from that by the mainland writers. Although they continued the tradition of the human’s literature of May Fourth New Literature, their thoughts of art and writing skills differed obviously with that of May Fourth New Literature. They applied western Modernism such as Stream of Consciousness, Sub-consciousness, mysticism, existentialism into their writing, and created some works of modernism with high quality. These works changed the status quo that the literature in Mainland neglected the writing art since 1949. Most of the New Emigrant authors were men of the time in the 1980s. Their experimental writing of modernism became a sensation, which was similar to that in the 1950s and 1960s. What’s more, these two groups shared some sameness that they lived the multiple cultures between West and East; new status, new vision and new life gave them their works new blood resulted in exotic thoughts, feelings and narrative and rhetoric. The similar spirit and life surroundings presented the premise of comparison.The first chapter concerns the context and the contents of the two groups from the points of view between homeland and foreign countries. The modern novels which were published in the Modern Literature by the authors traveling abroad from Taiwan in the 1950s and 1960s were the second experimental upsurge after May Fourth. This paper made an analysis of the writing art of Spirit Analysis, Existentialism, and the Stream of Consciousness in the writing by Bai Xian-yong, Ouyang Zi, and Cong Su etc. and concluded that their creations were latently complementary to those in the mainland during the same period. The novels by Liu Suo-la, Liu Xi-hong etc. among New Emigrant authors from Mainland were the continuation of modern novels of Chinese literature in twenty century. Though the scale was not as large as the authors traveling abroad in the 1950s and 1960s, the novel experiment reflected the urgent need to study from others of the time. With the development of the two groups, their novels emerged a tendency to tradition, which restored Chinese "poetic" and the use of traditional culture.The second chapter discussed the development and changes of the strangers’ surroundings from cultural anthropology and tried to reveal the specific performances and the underlying reasons of this change. The writers traveling abroad in the 1950s and 1960s expressed mainly the perplexity of the early emigrants and the loss of beliefs, and depicted the survival plight, the culture shocks and conflicts between different cultures, as well as strong homesickness. Due to the globalization and modern medium, the New Emigrant authors did not lost into the homesickness. The open horizon and the consumer ideology by the globalization had a deep influence to the social belonging; the residence of the overseas Chinese had changed for better; these two have lessened their homesickness, and caused different cultural understandings for the emigration and wandering. These were embodied in the human nature depiction and the reveal and reconsideration of cultural conflicts. The writers of both groups shared the wandering and depending feelings which were reflected in their works that told their times and continuation. Their writing not only inherited the subject of homesickness in the ancient Chinese literature and modern novels, but also told the feelings and reflections in the cultural conflicts between West and East, which added new direction and merged into the world emigrant writing.The third chapter discussed the special influence by their experience abroad and revealed the unique significance of those two types of creations in the composition of the 20^th century literature and contemporary literature by way of the kinds of touching China of the two groups. The writers traveling abroad in the 1950s had no experience of new China because of the dual exile and America’s block policy. The loneliness and homesickness urged them to get more feeling contacts and dependence, thus recalling homeland in the memory of youth was the only way for them to touch China. The globalization and consumer ideology reduced the homesickness of the New Emigrant writers who emigrated from mainland. The subject of their novels were the exploration of human nature. Even so, the memories of the homeland could not be forgotten, which became the emotions, aesthetics or sub-consciousness, and shadowed as youth and homeland in their novels. Except the warm homesickness, the writers also remembered the miseries and disasters. Therefore, the other type of touching China for the two groups was the depiction of disasters in the homeland. Because the writers traveling abroad in the 1950s and 1960s were far from their homeland, their works carried their independence then and there. The exploration of human nature by the New Emigrant writers was deep and unique.The fourth chapter compared two woman writer groups traveling abroad from the point of view of feminism and case study, and evaluated their position as woman sayings among Chinese literature in the 20^th century. The writers traveling abroad in the 1950s and 1960s concentrated on the woman sayings, filled a void for mainland, and pointed to the future tendency. They did not idealized woman, nor provoked the war between man and woman like the feminism writers popular in the mainland in the 1990s. They focused on the surroundings and woman themselves to depict the twists and turns of woman liberation including feudal forces of oppression, the shackles of traditional ideology, family values, as well as female character psychological characteristics, and other factors. They also depicted the pursuing of woman to freedom and the bold saying of female sexual desire, showing the calm and imposing sharp perspective and the serious depth of thought. This chapter analyzed the woman saying by the writers traveling abroad in the 1950s and 1960s such as Yu Li-hua whose heroines wandering in the tradition and family, Ouyang Zi whose psychological change of women, and Bai Xian-yong whose woman world full of past and present, love and hatred. The woman saying by the New Emigrant writers in the 1980s and 1990s was among the tide of feminism literature, therefore it echoed to the Feminism and transcendence. The works by Hong Ying vividly depicted the war between man and woman and its ending. The body writing of woman by the latter group was imbued with more cultural factors thanks to the cultural communications between West and East, which was open to expansion of the body writing popular in mainland. When most of the latter group was weak in their body writing, Yan Ge-ling remedied the defect timely by the rich woman saying. She created "Mother of the land", a pure and generous image; and praised the love and nobility of women. At the same time of passionate narrative, she avoided on purpose the women’s individual writing and whisper writing, which was an important contribution to woman writing.The Conclusion part pointed out the position of the writers traveling abroad in the 1950s and 1960s and the New Emigrant writers in the 1980s and 1990s in Chinese literature history: the former absented itself from Chinese literature history for a long time, which was the latent complementary; the latter emigrated from mainland and emerged in the literary tradition of mainland, and their contemporary sayings after emigration were one of the indivisible part of Chinese literature. The novel creation of both groups reflected the consistency and continuation. As an earlier emigration writer group, the narrow "foreign students" life of the writers traveling abroad in the 1950s and 1960s lead to the narrow and plane impasse of literary creation with the foreign students’ color. Although they made some breakthrough, their novels presented an inevitably initial stage compared to the latter group. The latter group inherited some subjects written by the former, but their literary horizon was wider due to their late emigration; and their exploration into human nature was deeper and diverse with the reflection of individuality. No doubt, there is still much more room for them to perfect, however, a bright future of the novel creations by the New Emigrant writers in the 1980s and 1990s could be expected.更多还原