【作者】 谢圣婷；

【导师】 王尧；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2010， 硕士

【副题名】“伤痕文学”新论

【摘要】 “文革叙事”一直是当代中国文学研究持续关注的焦点,也是当代作家无法回避的历史问题。“伤痕文学”则是十年动乱结束之后最先开启对“文革”创伤进行历史记忆的文学思潮,“文革叙事”之一种。今天大陆学界一般谈到的“伤痕文学”主要是指暴露“文革”动乱给国家、人民造成灾难和心灵创伤的小说,它们带有明显的现实主义倾向和悲剧色彩。由于其特殊的历史地位和文学史意义,自它诞生之日起就受到各方的关注和讨论。有人称其为“暴露文学”、“感伤文学”、“批判现实主义文学”等,也有人誉之为“报春的燕子”、“新时期文学的先声”等,给予极高的评价。“伤痕文学”研究,就是基于对这些作品的讨论发展而来的。自1978年第2期《文艺报》刊载以洪《是“暴露文学”吗?》一文后,引发了80年代中国当代文学史关于“歌颂与暴露”问题的讨论。而后在北京召开的《文艺报》座谈会,讨论《班主任》和《伤痕》,“伤痕文学”的提法便开始盛传。伴随着“伤痕文学”概念的确立和有关“歌颂与暴露”问题讨论的深入,“伤痕文学”研究的热潮勃然兴起。虽然大多数的研究者都注意到了“伤痕文学”开启新时期文学的重要意义,以及暴露社会主义真实悲剧和以情动人的特点,同时也注意到它作为文学作品在人物塑造、内容素材、语言表达等方面的缺陷;但是,多数研究者都喜欢把其作为文学作品或是文学思潮史来研究,鲜有把其作为“文革”的一种叙事进行论述的。鉴于过去有关“文革记忆”的研究成果多偏于全景宏观的描述,过多的局限于风格流派层次的讨论,而忽略了其作为社会历史转折期的链条作用和承载大众对历史创伤记忆的文化表征,本文拟从“伤痕文学”研究的历程回顾入手,探讨“伤痕文学”与当代文学的演变、八十年代文化热以及作家的创作心理之间的关联性,在理性思考中,进而对“伤痕文学”进行重新审视,把“伤痕文学”置于历史过渡时期背景下重新考量其从“历史”到“现实”的文化意义。通过关注“瞬间”与“私人”、具体而细微的角度,试图展现那不大为今人关注的另一种有关“文革记忆”的文学潮流的风貌。与此同时,另一个讨论课题则是对“文革”创伤的研究,而“文革”对年青一代的影响也成为一个历史课题,这是“文革”留给中国的创伤,创伤与记忆是中国全面反思的历史命题,心灵受害者与精神拯救者的辩证关系持续地拷问着中国人,刺激和促发了中国的当代文学。文学对历史问题,尤其是对历史创伤的追问,最重要是在没有煽情和麻醉的前提下,怎样去呈现创伤本身。这个过程最困难在于经历创伤的本身,创伤意味着你不能精确地呈现和表达关于经历、行为、心理和身体伤痕的范畴。因此,我们看到:“文革”结束后的文学家,他们是历史事件的见证人,他们了解他们自己的历史和公共的历史创伤,尽管他们被其他文学家看成是政治艺术家,但他们敢于涉足这些禁区,他们通过文学记载说出来,可以说是开先河般地直接把这一历史事件展示了出来。全文共分三个部分:第一部分:梳理“伤痕文学”研究的历程。把研究历程分为三个时期,即:(一)勃兴时期(1977—1987)。这一期间发表的关于“伤痕文学”的论文有90余篇。这些论文大多围绕“歌颂与暴露”、文学是否应该反映社会主义真实悲剧两个论题来探讨“伤痕文学”这一问题。(二)淡出时期(1988—1998)。这一时期讨论“伤痕文学”的研究论文明显减少,约有17篇文章,大都是对“伤痕文学”作为新时期文学开端进行宏观的论述,以及对它的兴起、演进和文学意义进行探讨。(三)再兴时期(1999—2009)。这一时期,由于改革开放取得的可喜成果,越来越多的学者又开始回顾过去,对“伤痕文学”的研究又呈现复兴景象,涌现出的研究论文有75篇左右。我们注意到有不少研究者把“伤痕文学”置于流动发展的历史长河中进行评述。第二部分:分析“伤痕文学”研究的关联问题。关联问题包括几个方面,即“伤痕文学”与当代文学的演变的关系;“伤痕文学”与八十年代文化热的关系;“伤痕文学”与作家的创作心理的关系等,在对这诸种关联进行理性的思考中,正确理解“伤痕文学”产生的文化场。第三部分:重新对“伤痕文学”进行审视。在梳理了“伤痕文学”的研究历程和它产生的几个相互关联的因素之后,我们由此重新审视“伤痕文学”,就会发现,处于文学流变中的“伤痕文学”自问世之日起所经历的无数争议,实际上还是围绕着伤痕小说的创作类型、表现手法等内部问题进行探讨的。本文着重围绕过渡时期背景下的“伤痕文学”、“伤痕文学”在文学断代中的意义、“伤痕文学”的“历史”与“现实”观照等问题,试图把“伤痕文学”看成是“文革文学”向新时期文学转型的一个过渡阶段的文学形式来解读,借助它反映的历史与现实的关系,重新阐释它在文学断代中的特殊意义。本文将“伤痕文学”这一特殊时期定义为一种“过渡状态下的文学徘徊期”来研究,目的是试图通过各种联系来打通其与“五四”新文学传统,“十七年文学”、“文革文学”以及之后的文学现象之间的关系。在中国现当代文学的历史进程中,“伤痕文学”是这个整体发展中不可或缺的重要链条。更多还原

【Abstract】 “The narrative on Culture Revolution”has always been the focus which the Contemporary Chinese Literature continually pays attention to and contemporary writers cannot avoid. After ten years’turmoil,“scar literature”opens Literary trend of thoughts for historical memory of the trauma that brought by Cultural Revolution. Today, in mainland China, the educational world mainly refers“scar literature”to those novels on writing harms to country, people and their minds, which has an obvious realism tendency and the tragedy color. Because of its specialized historical situation and literal history meaning, scar literature was concerned and discussed from its birth. Some calls it“the muckraking literature”,“the sad literature”,“the critical realism literature”and so on, while others highly appreciate it as“the swallow for spring”,“the new time for literature in new period”. The study on“scar literature”is based on these discussions. Starting from a passage written by Yi Hong,“Is that the muckraking literature?”in 1978, the second issue of“Literary Newspaper”,“the eulogy and the exposition”was discussed by the 80s Chinese contemporary history of literature. Later in the symposium of“Literary Newspaper”in Beijing, there was discussion on“Teacher in charge”and“Scar”, which spread out“scar literature”. With the establishment of the concept on“scar literature”and the discussion on“the eulogy and the exposition”, studies on“scar literature”have emerged. Although the majority researchers have noticed that“scar literature”has an important meaning in connecting the new time literature and the old, as well as the moving characteristic on the exposition of social real tragedy. Simultaneously they also noted that scar literature was weak in figure characterization, content, language performance and so on. However, most researchers like to study these scar literature as the literary work or literature ideological trend history, rather than an elaborative narration of“Cultural Revolution”. In view of the fact that the past related study on“Cultural Revolution”are in favor of parts other than general, too much discussions on style indicating that they neglected its chain link to society transition and its cultural attribute for the public to historical scar memory. This article plans to discuss the relationship between“scar literature”and the evolution of contemporary literature, the 80s cultural fever, writers’creation psychology,and Chinese tradition sense of worries from the overview of the research on“scar literature”. Besides, from rational thinking, the author then carries on carefully examines to“scar literature”, and again examines the cultural meaning from“history”to“reality”under the historical transitional background. Through the attention angle of“instantaneous”and“personal”, concrete and slight, the author attempts to unfold another style of literal trend of“cultural revolution memory”that are not concerned.Meanwhile, another discussed topic is about the trauma from“Cultural Revolution”which influences on young generation. This is the traumas that leave to China. Traumas and memory are the historical topic that China concerns fully. China’s contemporary literature is stimulated and developed by the dialectical relations between victims that were hurt by this Cultural Revolution and the spiritual savers. How can literature presents traumas without sensational and anesthesia, especially to history and to the wounds caused by history? The difficulty during this process relies on the trauma experience itself. Traumas mean you cannot precisely present and express the category of experience, behavioral, mental and body hurts. Thus, it can be viewed that, after“Cultural Revolution”, writers witness the history and they know their history and harms that caused by public history. Although they are concerned as political artists by other writers, they dare to step in these forbidden areas through the literature record and present the historic events directly.There are three parts in this article.The first part is the course of“scar literature”study which contains three periods, namely (1) Emergence period (1977 - 1987): In this period, publication on“scar literature”was approximately 90. These papers mostly revolved“the eulogy and the exposition”, containing whether literature should reflected the social real tragedy. (2) Faded out period (1988 - 1998): study on“scar literature”had an obvious reduction, to approximately 17 articles, which mostly discuss“scar literature”as the beginning of new time literature on the macroscopic elaboration as well as its starts, the evolution and the literature significance. (3) Emergence-again period (1999 - 2009): In this period, because of the exciting accomplishment from reform and opening up policy, more and more scholars started to review the past, which in return emerged the study on“scar literature”again with about 75 articles. We have noted that many researchers comment“scar literature”on a position in the flowing development in the historical perpetual flow.The second part is the analysis of“scar literature”and its relevant issues, containing several aspects, like the relationship between“scar literature”and the evolution of contemporary literature, the relationship between“scar literature”and the 80s cultural fever, the relationship between“scar literature”and writers’creation psychology and so on. From the rational thinking of these relations, the author carries on a better understanding on“scar literature”and its cultural field.The third part examines again on“scar literature”. After having combed the research process on“scar literature”and some relevant factors, we found that“scar literature”experiences countless disputes starting from its birth. Actually, these discuss are mainly on the creation and expression types of“scar literature”. This article emphasizes“scar literature”, its meaning in the history of literature, the“history”and“reality”and so on under the transition periods, trying to explain it as a transition literal style from“Culture Revolution literature”to new time literature, which reflects the relation between history and reality and as a result explains its special meaning in the literature gap.This article studies the period of“scar literature”as a“wander period under a transition status”, aiming to figure out the relation among“May 4th”newly literature tradition,“17 years literature”,“Cultural Revolution literature”and other literal situations. In the historic process of Chinese modern literature,“scar literature”is an important and indispensable chain in the integral development of literature.更多还原