【作者】 王云芳；

【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】 上个世纪四十年代末的社会巨变中,大陆山东籍人士迁台者众多。他们及其后代参与了台湾各个方面的建设且贡献良多,文学方面亦是如此。在台鲁籍作家遍布小说、诗歌、散文、戏剧、影视各个领域:小说方面的佼佼者有姜贵、朱西宁、朱天文、朱天心、张大春等;散文方面有王鼎钧、张腾蛟、也行、王孝廉等;诗歌方面有管管、沙牧、丁文智、闵垠、陈敏华等;影视、戏剧方面有马森、张永祥、何小钟、刘艺等。同时,他们还通过各式现代传媒辐射其文学理念,其创办经营或主编的文学传媒覆盖了台湾文坛将近半个世纪,至今犹影响深远。这些鲁籍作家或定居台湾、或由台湾移民海外,本文统称其为境外鲁籍作家。这里的境外是指中国大陆地区以外的范围。近年来,境外鲁籍作家频频获得各种奖项,其文学成就逐渐引起文学史家的关注。作为一个创作群体,境外鲁籍作家浮出水面。境外鲁籍作家是一个成员庞杂且时空跨度较大的群体,文学评奖等传媒活动使得评论界对其个别成员关注较多,但是,对境外鲁籍作家群的整体研究几乎还是个空白。本文从山东地域文化传统异域传播的角度切入,主要以1949年以后境外鲁籍作家中带有山东地域文化特色的文学作品为研究对象,探讨境外鲁籍作家对山东地域文化传统进行的创造性承袭,以及由此对中国传统文化的现代转换所产生的重大意义。论文主体主要采用代际思路,分为四章。前三章主要从根深蒂固的儒家文化思想范型、外来基督教文化的某些精神因子以及山东社会底层的民间文化三种文化资源出发,分析它们与第一代境外鲁籍作家之间的双向互动关系;最后一章主要采取作家分论的形式,探讨第二代境外鲁籍作家中的佼佼者对山东原乡文化传统各具特色的承袭方式及其折射出的文学审美景观。第一章着重分析第一代境外鲁籍作家对原乡儒家文化传统的承袭与创新及其文化意义。论文通过分析1949年以后海峡两岸整体的社会文化环境以及第一代境外鲁籍作家的创作动机,论证了其文学创作中存在着强烈的文化忧患意识。这种文化忧患意识主要来源于其原乡乃是数千年文化圣地的荣耀感,由此第一代境外鲁籍作家中普遍存在着一种文化承担意识。通过对其作品进行细致的文本分析,论文发掘出其看似乡愁式的原乡书写中寄寓的文化反思情结。本章选取了第一代境外鲁籍作家中的佼佼者:朱西宁、姜贵、王鼎钧,具体分析他们乡愁书写下不同的文化反思形态,文学审美折射以及由此对中国传统文化现代转换所做的贡献。朱西宁致力于国民性的批判与重建,他用犀利的笔触揭示传统中国子民的蒙昧不明的人性,揭示出中国传统文化沉重的一面,同时又通过一系列人物形象的塑造在五四一代作家“破”的基础上重新发掘出中国传统文化尤其是儒家文化中仍然具有生命力的“恕道”,以实现中国传统文化的现代转换。姜贵致力于对中国传统伦理道德的批判与坚守。他一方面通过传统中国妇女和知识分子形象的塑造,反思了传统中国封建礼教对人性的压抑与扭曲;另一方面并不完全认同于西方激进的文化思潮,而是秉承一种可贵的现代意识,为传统忠、孝等伦理道德思想注入新的时代内涵。王鼎钧主要是致力于民族审美形态的改造与创新。他始终坚持文学教化的社会功能,却又能突破文学依附于政治意识形态所产生的弊端;他坚持奋发向上的人生观,承袭了中国传统文化中阳刚之美的一面,又着力批判文学审美上粉饰太平的中庸倾向。第二章着重分析第一代境外鲁籍作家对外来基督教文化扬弃性的吸收与化用。近代以来基督教在山东的传播取得了长足的发展。西方列强军事侵略所提供的便利的传教条件、基督教士传教方式的改变以及中国传统文化自身的危机等因素使得基督教文化逐渐融入到山东地域文化传统中,影响到当地人的精神建构。第一代境外鲁籍作家所承袭的原乡文化传统并非纯然的,而是混合了许多基督教文化的精神因子。所以分析第一代境外鲁籍作家接受的文化熏陶,外来的基督教文化亦是不可回避的一种文化资源。本章首先从政治、经济、军事以及文化等个层面深入探讨近代以来外来基督教文化渗入山东地域文化传统的根源,然后仔细分析第一代境外鲁籍作家利用这一文化资源致力于中国传统文化现代转换的实践与努力。他们一方面着力挖掘中国传统文化中仍具生命力的部分,另一方面不约而同将基督教文化视为一种可以借鉴的外来文化资源。一方面用基督教文化来修正中国传统文化中现实性、功利性的一面,以实现对人性的彻底救赎;而另一方面,这种文化融合的努力又是以中国本土文化为基础的。他们珍重中国传统文化尤其是儒家文化,尊重中国人的民风习俗,用中国传统文化思维来阐发基督教义,在汲取基督文化精神精义的同时又跳脱出其教条神话等仪式的束缚。论文进一步探讨了基督信仰对第一代境外鲁籍作家精神世界的影响同样折射到了其文学创作中,使其文学作品的整体风格、形式构架和文学想象力等层面产生了很大变化。第三章注重发掘山东底层的民间文化与第一代境外鲁籍作家创作的密切关系。民间是一个充满悖论的文化空间,它既是一个藏污纳垢之所在,又包蕴着一股活泼自在的生命力。某种意义上来讲,它蕴涵了最符合人性,最为本真的精神资源。第一代境外鲁籍作家大都出身民间底层,耳濡目染的民间文化乃是其后来文学实践的重要精神资源。首先,论文从整体上发掘出第一代境外鲁籍作家创作中秉持的民间立场,然后结合朱西宁、姜贵、王鼎钧的创作进行个案分析。朱西宁多从儿童视角出发,采取复调型的叙事手段,彰显出被遮蔽的民间空间;姜贵坚守民间日常的生存伦理价值观,通过特殊人物形象的塑造展示出其他意识形态的荒谬可笑之处;王鼎钧则秉承了中国文学传统中以史笔作春秋的文学叙述方式,让多种意识形态声音的共鸣于其文本中,由此展示出民间真实的生存状态。民间立场的选择使第一代境外鲁籍作家的创作突破了政治意识形态与知识分子启蒙视角的限制,从而具备了更高的审美价值。其次,论文选取了民间文化中最具代表性的民俗风情和方言,深入探讨第一代境外鲁籍作家对山东民间文化传统的承袭特色。通过分析比较第一代境外鲁籍作家于创作中展示原乡民间风俗的意图,揭示出其运用民间文化构筑虚拟的精神原乡,进行文化反思和实践文学审美现代性的创作意旨。通过探究第一代境外鲁籍作家创作中的方言现象,发掘其运用方言创作所形成的文化传承与文学审美效果。第四章主要讨论第二代境外鲁籍作家对原乡文化传统各具特色的承袭方式。论文首先从整体上比较两代境外鲁籍作家审视原乡文化传统的视角差异。第二代境外鲁籍作家由于成长的历史环境、文化背景等与第一代境外鲁籍作家迥然不同,其原乡情结亦产生了很大变异:其一、“乡”的涵义有所变化。地理认同与文化认同的分裂是第二代境外鲁籍作家原乡情结的重要特色。他们对原乡情感上隔膜,开始认同脚下的土地;其二更侧重从个体生命的现代角度去审视原乡文化传统;其三、原乡情结的体现方式由父辈们常带情感的乡愁抒发转变为一种文化式的原乡想象。其次,论文选取了五位具有代表性的作家进行个案分析,探讨山东地域文化传统在第二代境外鲁籍作家身上延袭的种种可能。张大春一方面承袭了第一代境外鲁籍作家的文化反思意识,另一方面借助原乡文化传统展开他天马行空的小说想象;王幼华的小说看似关注都市人生,但其对人物形象道德层面的极度关注显示出原乡文化传统的潜在影响;朱氏姐妹朱天文、朱天心早期作品受到乃父朱西宁及胡兰成文化与审美理想的影响,将原乡文化传统的承袭化入了对中国古典文化传统的一片深情中;平路的创作并未着眼于原乡文化传统的承袭,反倒对围困于原乡情结中现代个体的心理世界兴致盎然,由此揭示出现代社会原乡文化传统延袭的困境。更多还原

【Abstract】 Many people of Shandong province migrated to Taiwan during the tremendous social changes at the end of the 40s of the last century. They and their descendants have devoted in the construction and got great achievements in all fields of Taiwan, especially in the literary field. Now the writers from Shandong province in Taiwan spread to the fields of novel, poetry, prose and drama, even to the film circles. For example, Jiang gui, Zhu xi’ning, Zhu Tianwen, Zhu Tianxin and Zhang Dachun in the field of novel; Wang Dingjun, Zhang Tengjiao, Ye Xing and Wang Xiaolian in the field of prose; Guan guan, Sha Mu, Ding Wenzhi, Min Yin and Chen Minhuan in the field of poety; Ma Sen, Zhang Yongxiang, He Xiaozhong and Liu Yin in the field of film and drama. At the same time, these writers present their literary ideals through all kinds of modern literatures. The literature media they founded or edited reined the literary world for nearly fifty years and have profound influence even till now. Some writers of Shandong province often got all kinds of rewards in recent years, so the researchers have gradually noticed their literary achievements. The group including the writers of Shandong province has emerged distinctly. Some of them migrated once again from Taiwan to abroad, so I named them the outside writers of Shandong province.This group has a long history and includes complex members. Though the researchers are interested in some members because of the influence from some media activities, the study on the whole group has not appeared in the literary history until now. This paper studies from the perspective of geographical culture, choose the works as the study objects that the writers created and showed the characteristics of shantung’s geographical culture and discuss the inheritance and development of traditional culture of Shantung. The main part of this study includes four chapters: The first-three chapters on the study of the first generation of these writers, and the fourth chapter on the second generation.The first chapter analyzed the impact of the Confucius culture tradition on the first generation of these writers. Confucius culture tradition stimulated their sense of urgency for the Chinese traditional culture because their hometown had been the holy land of Chinese culture. The study chose some outstanding writers the first generation of the group and analyzed their work deeply. Zhu Xining was devoted in the criticism and reconstruction of Chinese nationality. He sharply revealed the ignorant human nature of the traditional Chinese, explored the serious side of Chinese traditional culture, at the same time, on the basis of "destruction" of the writers in May 4 times, he re-excavated of the vitality "Shudao" which is still living in traditional Chinese culture, especially in Confucian culture and recreated it through creating a series of figures in shaping the image. Jiang Gui was committed to the traditional Chinese ethics and adhered to the criticism. On the one hand, he reflected the traditional Chinese feudal ethics of human suppression and distortion by shaping the image of Chinese traditional intellectual women; On the other hand, he didn’t completely agree with the western culture of radical ideas, but implant the new connotation of the times into the loyalty, filial piety, and other traditional values. Wang Dingjun did his best to the transformation and innovation of national aesthetic forms. He always noticed the social function of literature correctional and managed to break the disadvantages attaching to political ideology; He insisted the progressive outlook on life, inherited the masculine side of the traditional Chinese culture, at the same time he focused on critical white wash peaceful intermediate aesthetic tendencies.The second chapter researches the Christian culture’s influence to the first generation of the Shandong writer’s spiritual world. It provides outside spiritual resource for the Chinese traditional conversation that they were devoted to and let the literature creation present a new aesthetic form.Since the modern times, Christianity had widely spread in Shantung province. The convenience which the western invaders provided for the mission, the change of the mission’s way and the Chinese traditional culture’s own crisis and so on made the Christianity culture gradually integrate into the traditional region culture of Shandong. They affected the construction of the native’s spirit. It was not purely traditional culture, which impacted the first generation of the group. It mixed many Christianity culture factors. When the first generation was devoted to reconstructed Chinese traditional culture, they tried to unearth the vitality the part of the Chinese traditional culture; on the other hand, they regarded the Christianity culture as the external cultural resources that could be profited from. They used the Christianity culture to revise the feasibility and utilitarian in Chinese traditional culture so that it can come to the thorough redeeming of the human nature. On the other hand, this kind of mixed culture also diligently took the Chinese native culture as the foundation. They treasured Chinese traditional culture especially Confucianism culture. They respected the Chinese common social custom. They explained the Christ religious doctrine with Chinese traditional thought. On the base of deriving the energetic essential meaning of the Christ culture, they got rid of the fetters of ceremony’s and so on. The influence of Christ belief in writers’ inner world reflected in the literary. And it made the overall style of the literary work, the form skeleton and the literature imagination change largely.The third chapter analyzed the influence of the Shantung’s folk culture on the first Shandong outside generation writers. This analyze from three stratifications: the folk spirit, the folk culture and the dialect. The paper first discussed the folk value stand point, which from the first Shandong outside generation writers. Take the Zhu Xining, Jiang Gui, Wang Dingjun for example to analyze. Civil society is a paradox cultural spaces, it has the dirty and the vitality together. When facing original culture tradition, this group of writes consciously upheld the value of a relative position on the civil. They continued the Chinese native literature tradition, so their creation beyond the political ideology and Enlightenment intellectuals Perspective, have a higher aesthetic value. Zhu Xining embarks from the child angle of view, adopts the duplicate accent narrative method, and showed the folk space that could be camouflaged. Jiang Gui persevered the folk values, and through the special character image demonstrated the absurd of the other ideology. Wang Dingjun received the Chinese literature tradition which narrative the history. Through a variety of ideological voices resonate, and showed the real state of the civil.Custom is invisible and elementary power that reflects people’s languages, actions and psychology in a specific area. This Paper analyzed the different perspectives of the custom in the works of the first generation and revealed the intent in description geographical of customs: not only to build the original spirit by it, but also think it as the part of the reflections on cultural awareness. At the same time, it was subordinate to the modern aesthetic of the important practice.The dialect is the most characteristic part of the region characteristic and carries so much cultural tradition of this region. These writers used the dialect of shantung, which was the special way of returning home from the spirit, and which also spiritedly unfolded the region character’s relationship of form and spirit and the region culture essence. The fourth chapter discusses the second generation of this group how to inherit the hometown culture tradition. First, the paper compared two generation of writer’s angles of view overall which they used to treat the hometown culture tradition. Second, according to the creation of the second generation of writers who are the representative members we specific analysis of their characteristics. Comparing with the first generation, the second generation’s original township emotion was totally different and had very big variation because of the difference of the historical and cultural background. Firstly, they started to love the earth beneath their feet and became lack of understanding of their original township emotions; Secondly, they stress more from individual life angle to examine the original township culture tradition; Thirdly, they took the original township culture as the imagination fountainhead of the esthetic stratification plane.The second generation carries on unique to the original township culture tradition. On one hand, Zhang Dachun’s work has carried on the cultural reconsideration consciousness of the first generation; on the other hand, it launches his powerful and unconstrained novel imagination with the aid of the original township culture tradition. Wang Youhua’s novel looked like paying his attention to the metropolis life, but it demonstrated the original township culture tradition to the character vivid morals stratification plane’s extreme attention the potential impact. Zhu Tianwen and Zhu Tianxin’s early time works’ esthetic affective tone inherited Zhu Xining’s culture and esthetic ideal obviously and continued China’s ritual music culture tradition. Pinglu’s creation demonstrated the difficult position of the inheritance of the region culture tradition in modern society. The modern people have to face the problem that was not where the native place is, but how to console their own soul in the modern circumstances in which they are surely to lose their township.更多还原