“世界文学”观念与新时期作家的创作实践

发布时间：2018-05-08 07:36

  本文选题：“世界文学”观念 + 新时期　； 参考：《辽宁大学》2017年博士论文

【摘要】：本文以“‘世界文学’观念与新时期作家的创作实践”为关注对象,考察“世界文学”观念形成、发展的内在理路,以晚清至新时期文学为参照,探讨新时期语境下,主体的“世界文学”观念与作家创作实践的关系,以及“世界文学”观念影响下的中国文学参与世界的方式和可能。论文主要以作家的“世界文学”观念作为关键词和核心点,并对其进行文学、美学和文化意义上的多重思考。本文总体思路和重点是将新时期作家的创作实践作为一个有机联系的整体进行系统研究。力图通过“世界文学”这一线索,完成对新时期文学融入世界文学的步伐和节点的全新梳理,进而探讨“世界文学”观念参与塑造新时期文学的不同面向,寻找促使中国文学真正有效地走向世界进而跻身世界文学主流的多向可能。全文共有七个部分,每个部分主要内容如下:第一章绪论,主要介绍论文的研究缘起、梳理现有的研究成果,研究对象、方法和意义。第二章主要探讨“世界文学”的发现与阐释。“世界文学”作为一个概念自德国作家维兰德首次使用伊始,赫尔德、歌德、马克思和恩格斯等相继进行“世界文学”有关阐述。他们的言说构成“世界文学”本体论探讨,也由此展开了世界范围的对“世界文学”内涵阐释。同时,借助“世界”范畴在中外视域中的认知流变,从侧面展开了“世界文学”的空间性,透露出中国学者在思维结构上的开放性变化。此外,通过对“世界文学”的追问和辨析明确剖析新时期语境下“世界文学”内部多重价值标准。可以说对“世界文学”内涵和外延的探究打开了世界文学理论体系的开放性局面,开拓了民族文学的视域,也由此开启了文学的崭新时代。第三章主要对晚清以来中国作家的“世界文学”观念进行历时性的梳理和分析。晚清以来中国作家从未停止走向世界的脚步,从清末民初对域外文学的认同与发现、到现代文学三个十年中郑振铎、鲁迅、张爱玲等的世界文学接受以及覆盖整个现代文学阶段世界影响下的各个文学社团形成和发展、1950至1960年代中国文坛总体世界文学倾向的转向,再到新时期莫言等作家对域外文学的借鉴与超越,在接受与影响中,中国作家走出一条明晰的面向世界的文学观念演进历程。纵向地梳理中国文学的发展脉络的同时也透过中外双重视角横向比较中国文学与域外文学的差异,既体现中国文学的独特性和创新性,也窥见中国文学的某些不足。第四章对新时期作家多样化的“世界文学”观念展开论述。其一是民族自信,将民间文化作为文学表达的资源。在全球化背景下,文化的民族自觉日益高涨。坚守民族立场的新时期作家认为中国特色是文学立足世界的原因,他们将文学作品浸润在传统文化中、民族土壤里和地域风俗内,打上深深的民族烙印;其二是文化间性,持此类“世界文学”观念的作家认为海外语境对中国文学的世界性发展有着积极的促进作用。与西方作家的交流比较可以看到民族文学的局限,进行异域行旅或海外经历能够开阔作家的视野,在民族与“他者”视角交错之间既获得了异域文化价值标准也保持了民族文化的必要张力,将多重异质文化融汇有助于创作新奇作品;其三是自由独语,将“文学”与“世界”相分离,持这类“世界文学”观念的作家认为文学创作是与诺贝尔文学奖等世界级奖项无关的个人化行为。世界上任何文学自在自为地成为世界文学的一部分,甚至有的作家认为“世界文学”的界定本身即是虚无的;其四是借用“东方主义”视角。新时期作家有关文学中心观念不同于萨义德提出的“东方主义”,他们认为东西方文学存在差异和差距,他们渴望获得世界读者的认可,也看到东西方文学相互理解的难度,对中国文学真正融入世界文学持焦虑的态度;其五是仿写和借鉴。透过大量国内外创作实践,仿写和借鉴是作品不断成熟的途径。新时期作家也以此作为作品超越自我,获得世界认同的方式。第五章和第六章是对“世界文学”观念影响下的新时期文学的思想意蕴和艺术形式的世界性进行分析。在思想意蕴方面,首先,新时期作家在寻求中国文学世界性发展的过程中认识到民族传统文化、古典文学经典和地域风土气息的重要价值。其次,新时期作家看到了具有世界性主题表达以引起世界读者共鸣的意义。其中,对人的全方位的思考和关注是最具人类共通性的话题。最后,缺乏想象的作品是平庸的,新时期作家受中国古典文学和域外经典名作的启发在作品中展开对神秘世界的创造性想象。在艺术形式表现方面,新时期作家在创作原则、文体、叙述和修辞方面都进行了世界之方向的创新性尝试。不仅坚持现实主义和现代主义等相对单一化的创作原则,更接受了域外文化思想影响,对现实主义、现代主义进行多元化的改造。在文体上也进行着自觉的努力,相继出现日记体、独语体、对话反思体、书信体等创新性文体。在语言表达上从叙述和修辞角度向世界文学方向进行着不断的尝试。可以说,世界语境是中国文学身份觉醒和整体发展的重要背景。第七章主要剖析“世界文学”观念的当代价值。“世界文学”观念给了新时期作家了解世界文学的动力和眼界,让他们在不断的参照和对比中形成文学整体观,将中国文学纳入世界文学整体中考量,在兼容并蓄的视野中思考中国文学的发展;中国文学的发展离不开世界文学的启发和影响,全球化和本土化共同构成的中国文化动脉,在这文化的脉冲中,中国文学获得源源不断的艺术资源;同样,世界文学也离不开中国文学,中国文学的存在为世界文学图景增添色彩,保持了世界文学生态多样性。另外,中国文学的世界性接受能够更直接和有效地塑造中国形象,文学为世界了解中国提供了更为直观的渠道,让世界看到真实的中国。
[Abstract]:This article, based on the concept of "world literature" and the creation practice of writers in the new period, examines the formation of the concept of "world literature" and the internal logic of development. With the reference of the late Qing Dynasty to the new period literature, this paper discusses the relationship between the concept of "world literature" and the writer's creative practice in the context of the new period, as well as the "world literature". The author's concept of "world literature" is the key point and key point of the writer's "world literature", and the author's literary, aesthetic and cultural thoughts are taken into consideration. The general idea and focus of this paper is to take the writer's creative practice in the new period as an organic whole. Through the clue of "world literature", we try to complete the pace and new combing of the new period literature into the world literature, and then discuss the concept of "world literature" to participate in the creation of different aspects of the new period literature, and to seek for the Chinese literature to come to the world and then become the mainstream of the world literature. There are seven parts in the full text. The main contents of each part are as follows: the first chapter is the introduction, which mainly introduces the origin of the research, combs the existing research results, research objects, methods and significance. The second chapter mainly discusses the discovery and interpretation of "world literature". "World literature" is a concept from German writer Wieland first. At the beginning of the use, Herder, Gerd, Marx and Engels expounded the "world literature" in succession. Their statements constituted the ontological discussion of "world literature", and thus opened up a worldwide interpretation of the connotation of "world literature". At the same time, the cognition and rheology of the category of "world" in the foreign field of view was developed from the side. The space nature of "world literature" reveals the opening changes of Chinese scholars in the structure of thinking. In addition, through the inquiry and analysis of "world literature", the internal multiple values of "world literature" in the context of the new period are clearly analyzed. The open situation of the system has opened up the horizon of national literature, and thus opened a new era of literature. The third chapter mainly carding and analyzing the "world literature" concept of Chinese writers since the late Qing Dynasty. Since the late Qing Dynasty, Chinese writers have never stopped moving towards the world, and from the late Qing Dynasty to the early and early days of the Republic of China to the identification of foreign literature. And discover, to the three ten years of modern literature Zheng Zhenduo, Lu Xun, Eileen Chang and other world literature acceptance and the formation and development of various literary societies under the influence of the whole modern literary stage world. From 1950 to 1960s, the general world literature tendency of Chinese literary world turned, and then to the reference of Mo Yan and other writers to foreign literature in the new period. In the course of acceptance and influence, Chinese writers go out of a clear evolution of the literary concept facing the world, carding the development of Chinese literature vertically and comparing the differences between Chinese literature and extraterritorial literature horizontally from both Chinese and foreign perspectives, which not only embodies the uniqueness and innovation of Chinese literature, but also peek into Chinese literature. There are some shortcomings. The fourth chapter discusses the diversified "world literature" concept of the writers in the new period. One is the national self-confidence and the folk culture as the resource of literature. In the context of globalization, the national consciousness of the culture is increasing. The writer of the new period of adhering to the national standpoint has recognized that the Chinese characteristic is the reason that literature is based on the world. They infiltrate the literary works in the traditional culture, the national soil and the regional customs, the deep national brand, and the second is the intercultural nature. The writers holding this concept of "world literature" think that the overseas context has a positive effect on the development of the Chinese literature in the world. The limitations of learning, foreign travel or overseas experience can broaden the field of view of the writer. The interlacing between the national and the "other" has not only acquired the standard of foreign cultural values but also the necessary tension of national culture, and the fusion of multiple cultures helps to create novelty works; third, free solo, "Literature" and "the world" The writer thinks that literary creation is independent of the world class awards such as the Nobel prize for literature. Any literature in the world has become a part of world literature freely and freely, even some writers think that the definition of "world literature" itself is nothing but the fourth is to borrow "East". The concept of literary center in the new period is different from the "Orientalism" proposed by saider in the new period. They believe that there are differences and differences between the East and the West. They are eager to get the recognition of the world readers, the difficulty of the mutual understanding between the East and the west, and the anxiety about the real integration of Chinese literature into the world literature. The fifth is to imitate and draw lessons from. Through a large number of domestic and foreign creative practice, imitating writing and drawing lessons are the ways of the works. The writers of the new period also take this as a way to transcend the self and obtain the world identity. The fifth and the sixth chapters are the ideological connotation and the artistic form of the new time literature under the influence of the concept of "world literature" In the aspect of ideological connotation, first, in the process of seeking the world development of Chinese literature, writers in the new period have recognized the important value of national traditional culture, classical literary classics and the atmosphere of regional wind and soil. Secondly, the writers of the new period have seen the meaning of the world theme to arouse the resonance of the world readers. In the end, the unimaginative works are mediocre. In the new period, the writer is inspired by the classical Chinese literature and the extraterritorial masterpieces to unfold the creative imagination of the mysterious world. In the form of artistic expression, the writers in the new period are writing principles, style, narration, and narration in the new period. The rhetorical aspect has carried out an innovative attempt in the direction of the world. It not only adheres to the relatively unitary creation principles of realism and modernism, but also accepts the influence of extraterritorial culture and ideology, and makes a pluralistic transformation of realism and modernism. In stylistic efforts, there are diaries, solo bodies and dialogues. The seventh chapters mainly dissect the contemporary value of the concept of "world literature". The concept of "world literature" is given. The writers of the new period know the motive force and the horizon of world literature, let them form the whole view of literature in constant reference and contrast, consider Chinese literature into the whole world literature, and think about the development of Chinese literature in an inclusive field of vision; the development of Chinese literature is inseparable from the enlightenment and influence of world literature, globalization and localization. In this cultural pulse, Chinese literature is made up of the Chinese literature. In this cultural pulse, Chinese literature has a steady stream of art resources. Similarly, the world literature can not be separated from Chinese literature. The existence of Chinese literature adds color to the world literature picture and maintains the ecological diversity of the world literature. In addition, the world acceptance of Chinese literature can be more direct and available. Effectively shaping the image of China, literature provides a more intuitive channel for the world to understand China, so that the world can see the real China.

【学位授予单位】：辽宁大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：I206.7
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本文编号：1860529