摘要:Shanghai witnessed a trend of literary and art newspapers in the late Qing Dynasty,which served as a key context for the development of modern literature.Taking as an example Games Daily and Recreational Daily,this paper attempts to demonstrate the efforts and achivements of newspapers of this type in initiating the reading of modern masses and in enlarging the readership so as to present one of the historical sight in the modernization of literature.%晚清上海出现一种文艺报纸的潮流,构成了近代文学发展的重要语境。文章以《游戏报》、《消闲报》为例,说明这类报纸在倡导现代大众阅读,扩大读者层面上的努力与成绩,以呈现文学现代化的历史情景之一。
摘要:Art and literature have respectively revealed the real existence of human emotions in different generations by virtue of their diverse emotional symbol systems.In spite of some changes in its pattern in the context of contemporary popular culture,literature still exists freshly and lively;whereas the gradual subversion and disssolution of pure literature as a historical cultural fact in modern times does not follow that literature is to perish.The transition from pure literature to mega-literature is just the self-restoration of the literary spirit in the sense of anthropology;while future mega-literature in China is to be receptive to foreign culture on the basis of the national collective memory and to change subtly under the stimulus of life experience in various generations.Nevertheless,whatever the changes and evolutions,be they caused by elite writers or by grass-roots populace,it is China's mega-literature featuring the Chinese flavour and epochal traits and free exchanges with literature of other peoples—one of the essential life elements in the life entity of the multi-element and concomitant human mega-literature,so long as it exhibits the emotion(temperament) here and now in a free,natural,instinctive and genuine manner.%艺术和文学分别借用不同的情感符号体系,来展示人类在不同世代的情感本真存在。当代大众文化语境之下文学形态发生了变化,但是文学依然新鲜活泼地存在着。纯文学作为一种历史性的文化现象在当代逐渐被颠覆和消解,并不能说明文学行将消亡。从纯文学到大文学正是人类学意义上文学精神的自我回归,中国未来的大文学必然会在民族集体记忆的基础上接受外来文化以及不同世代生活经验的刺激而发生微妙的变化。但无论怎么变化、演绎,也无论它是出自精英文学作家之手,还是出自草根民众之手,只要它自由地、自然地、本能地、本真地敞开了斯时斯地的情感(性情),那么,它都是既有中国品位又有时代气象,且与其他民族文学相互情意沟通无碍的中国大文学——多元共存的人类大文学生命实体中必要的生命元素之一。
摘要:There are really many comparabilities between Human Comedy and Teahouse.First of all,both works have an epic quality,and both of them have accomplished a grand intention that can not be attained by a pure novel or play.Secondly,they have successfully gone beyond their respective style and become the model of "cross-style" writing.Thirdly,there is uniformity in the structure of both works,for they have selected the "coordinate-type" structure featuring crisscross and the false or true artistic conception.However,with dissimilarities in the style and in the artistic personalities of the authors,there are still differences in the artistic treatment even in the context of type isomorphism.%在《人间喜剧》和《茶馆》之间存在着许多可比性。首先,两部作品都具有史诗般的品格,完成了不是单纯的小说或戏剧所能实现的宏大意图。其次,这两部作品都成功地从各自的文体"越界"到了对方的领地,成为"跨文体"写作的典范。第三,从作品的结构看,两部作品之间明显存在着同型同构现象。这两部作品都选取了纵横交错、虚实相生的"坐标式"结构,但是由于两部作品的文体有别,两位作家的艺术个性殊异,在同型同构的耦合景观下依然存在着相异的艺术处理。
摘要:Hong Kong's youth writing has become an important part of Hong Kong literature since the late 1990s.Han Lizhu,Xie Xiaohong Yuan Zhaochang,Mai Shujian and Zou Wenlu are some outstanding representatives of young writers.When portraying Hong Kong's urban landscape,young writers often establish some metaphorical relationship between the body and the space.In the expression of human feelings,they have a complex understanding of love.They regard writing as a personal creative work,and by artistic pursuit they have gradually entered Hong Kong's literary history.%20世纪90年代中后期以来的香港青少年写作已成为香港文学发展的重要一环。韩丽珠、谢晓虹、袁兆昌、麦树坚、邹文律等是其中的佼佼者。年轻作家们在反映香港都市面貌的过程中,常常在身体和空间二者间建立起某种隐喻关系。他们在表达人间情感时,则对爱有一种复杂的现代主义式的理解。他们视写作为一种个人化的创造性工作,对艺术性的追求使他们逐渐走进香港文学史。
摘要:研究"五四"落潮期的鲁迅思想情感的轨迹,《朝花夕拾》无疑是一本值得重视的著作。论文着重阐发"回忆"在《朝花夕拾》中的地位、形态和意义,试图分析隐含在文本背后的、纠结于创作主体内心的现代个体与传统集体之间的矛盾活动过程。%Life Is a Moment is surely a noteworthy book for studying Lu Xun's course of ideology and emotion at the time when the May 4th Movement met with its setbacks.This paper focuses on elucidating the position,pattern and significance of "memories" in Life Is a Moment,and attempts to analyze the process of contradiction between modern individuals and traditional collective,which is entangled in the inner heart of the author and implicit in the text.
摘要:倘若说80年代诗歌值得重新回望、审视和探讨,那么只要将作为当时"在场"的校园诗群体,放置于80年代的文化背景下加以聚光和考察,就可发现校园诗歌作品意蕴辐射绝非各自孤立、纯粹偶然的一般现象。当我们重返80年代时,只有将目光的关注点延伸到校园诗歌的创作,才能更加立体、全面、客观地重返历史"现场",还原80年代诗歌的整体风貌。从这个意义上说,探讨并寻找80年代校园诗(群体)的经验、演变过程、价值意义及其文化影响力尤为弥足珍贵。无论是触及社会环境对诗歌发展,还是诗歌发展有利于社会环境,都能为我们带来丰富的启示和意义。%If it is worthwhile to recall,survey and explore poems of the 1980s again,the radiation of connotations of school poems is anything but a general phenomenon of respective isolation and pure contingency provided that the "on-the-spot" school poems are spotlighted and inspected in the cultural context of the 1980s.It is only when we return to the 1980s and focus our eyes on the creation of school poems can we return to the historical "scene" in a more stereoscopic,comprehensive and objcetive manner and restore the entire picture of poems in the 1980s.In this sense,it is extremely valuable to explore and seek the experience,transformation process,value and significance,and the cultural impact of school poems(group) in the 1980s,for it can be of abundant enlightenment and significance,be it in the impact of the social melieu on the development of poetry or the conduciveness of poetic advancement to the social environment.
摘要:论文从"被农民"、"老农民"、"超农民"三个方面清理了赵本山春晚小品与"农民"这一现代性话语的内在纠葛。通过对赵本山春晚小品的历时性考察,认为赵本山选择表演现在这样为人熟知的"农民"形象,是一个多方合力的结果;他持续多年以"老农民"形象示人,这种角色的稳定性是他成功的原因之一;春晚的审查筛选机制助长了赵本山塑造的农民形象的固定化,限制了赵本山艺术才能最大限度的发挥。%This paper attempts to sort out the intrinsic dispute between Zhao Benshan's sketches at the Spring Festival Evening parties and the "farmer"—a discourse of modernity in three aspects: "the imposed farmer","the old farmer",and "the super-farmer".Through a diachronic survey of Zhao Benshan's sketches at Spring Festival Evening parties,this paper opines that Zhao Benshan's choice of the farmer,an image well familiar to the audience,is a result of concerted efforts,and that Zhao's part of the farmer for years on end is one of the reasons for his success thanks to its stability.Moreover,while the examination and screening mechanism of the Spring Festival Evening Party has helped contribute to shaping the image of immobilized farmers acted by Zhao Benshan,it has meanwhile restricted the maximal demonstration of Zhao Benshan's artitsic capacity.
摘要:经过多年的涉嫌假大空说教与思想灌输的挫折,今天的宣传歌曲、教化歌曲的创作已是理不直,气不壮。振奋民族精神,推动国家进步,百年前的那一代先贤推动"学堂乐歌"创作的激情,今天仍然是需要的。而我们见到的一些宣传歌曲、教化歌曲,却观念陈旧,思想僵化,不乏"文革"腔调,有假冒伪劣之嫌,完全不足以担当起宣传和教化的使命。%After years of setbacks resulting from hollow preaching and indoctrination,the writing of publicity and enlightenment songs is not justifiable nowadays.It is still necessary at present to keep the enthusiasm for the creation of "school songs" on the part of sages of that generation 100 years ago so as to inspire the national spirit and promote national progress.Nevertheless,some publicity and enlightenment songs nowadays are of stale ideas and rigid thinking,smacking of the tune of the "Cultural Revolution",thus being unable to assume the mission of publicity and indoctrination.
摘要:有关"反本质主义"的持久论战表明,在处理一些知识、概念问题方面,学界都能较有效地规避本质主义的禁锢,并防范反本质以至陷入相对、虚无的陷阱,但在处理理论体系时,则往往无法逃逸出僵化的思维模式。这种僵化主要表现为对内部研究与外部研究二元区分的盲目固守。而理论体系归根结底涉及到文学理论的"美学立场"与功能问题。对此,关系主义重新启用了"美学立场"这一左翼思想界很具实践效能的传统概念。不过,它并没有因其美学立场而放弃文学性质与特征的研究。话语分析这一方法论有效地将美学形式与立场结合了起来。%As is shown in the portracted controversy over "anti-Essentialism",while the academic circles have effectively evaded the constraint of essentialism and guarded against anti-essence even to the point of being entrapped in relationalism and nihilism in their disposal of some issues as to knowledge and conception,they have always failed to remove rigid thinking,as is evident in their blind adherence to the binary division btween the internal study and the external study.The theoretic system is,in the final analysis,involved with the "aesthetic stand" and functions of literary theories,and therefore the "aesthetic stand"—a traditional concept enjoying much practice efficacy in the Left ideological circles—has been re-utilized in relationalism.However,studies on the properties and traits of literature have not been abandoned due to its aesthetic stand because of the effective integration of the aesthetic form and stand through discourse analysis.
摘要:While Luodi,Burdia,et al are the theoretic source of relationalism,they differ from relationalism in their attitude towards cultural studies.Moreover,Loudi,Ygerd and Burdia have presented rather complex commentaries on cultural studies,and they have conflicted with each other in their theoretic approaches,which does not refer to the confusion of relationalism texture but an essential embodiment of the localization of relationalism.The "cultural studies" in relationalism is conducted on the basis of essential literary studies—a literary context native to China.And it is only by so doing can Luodi,Burdia,Ygerd,et al be grouped under relationalism.%罗蒂、布尔迪厄等人是关系主义理论源流,但他们对于文化研究的态度与关系主义的并不相同,另外罗蒂、伊格尔顿和布尔迪厄之间对文化研究的评价相当复杂,他们之间的理论路数也有冲突,但这并不能说明关系主义学理混乱,这是关系主义理论本土化的必要表现。关系主义的"文化研究"是在文学研究本质化的基础上展开讨论的,这是中国特有的理论语境,也正是这样,罗蒂、布尔迪厄和伊格尔顿等人才得以统一在关系主义的大旗下。
摘要:苏炜长篇小说超越了先前"知青文学"创作,原因在于小说叙事艺术方面难能可贵的创新:1."听故事/讲故事"和"大故事/小故事"叙事模式;2.通过人物的"偶然性"命运反思理想、爱情、价值、坚守、背叛、有无、得失、虚妄、世俗等价值问题;3.在异域环境中表现小说主题,并描绘出一个时代的变迁。%Su Wei's novels have surpassed previous "literature of educated youth" because of their commendable innovations in the narrative art,as is evident as follows:(1).the narrative mode of "listening to stories/telling stories" and "great stories/minor stories";(2).reflectiosn on such issues as ideals,love,value,adherence betrayal,possession or its loss,success and failure,falsity,secularity,etc.through characters' fate of "contingency";(3).The representation of the novel theme in an alien milieu and the description of changes in an era.
摘要:Consulting the diary,private letters and other materials of Hu Shi is an effective way to recall the emergence of new verse.Given the discrepancies between the original materials used by Hu Shi in his vernacular poetic writing and his later account in literary history,it is easy to discern the change of nomencalture from doggerels to vernacular poems as well as the intrinsic interaction between vernacular poems and dialect poems.%参照胡适日后公开的留学日记、私人书信等材料,是重新回溯到新诗的发生这一历史现场的有效途径。胡适尝试白话诗的原始材料与他后来的文学史叙述这两者之间存在空隙与参差之处,置身其中不难发现从打油诗到白话诗这一命名转型的轨迹,白话新诗的发生与方言入诗的内在关联也由此得到呈现。
摘要:In the "post-hero" era,Bi Shumin's idealism writing on the hero,loftiness,sacrifice and redemption is the dual symptom of disease and redemption in this era.Her writing complements the epochal shortage caused by triviality and mediocrity on the one hand,and coincides with people's romantic nostalgia about a bygone heroic era.%在"后英雄时代",毕淑敏对英雄、崇高、牺牲、救赎的理想主义书写本身,是这个时代的病症与救赎的双重表征。她的写作,一方面补足了琐碎平庸的时代匮乏,另一方面也暗合了大众对一个逝去的英雄年代的浪漫怀旧。
摘要:兴起于世纪之交的打工文学以其全新的人物形象塑造独步于当代中国文学,揭开了中国当代文学史的崭新一页,但打工文学的正名问题却成为当代文学史写作的困扰。论文紧扣与打工文学正名相关的几个重要问题作出学术辨正:其一,关于打工文学的写作对象和写作主体;其二,关于"在生存中写作"与"在写作中生存";其三,关于精英立场与大众立场的对立。论文指出,当代文学史对于打工文学的书写有必要在打工和文学之间、生存体验和艺术提升之间、精英立场和大众立场之间作出严肃认真的学术判断和价值衡估。%Migrant worker literature rising in the turn of the century has been unrivaled for its brand-new characterization in contemporary Chinese literature,thereby having unfolded a new page in the history of contemporary Chinese literature.However,the name rectification for migrant worker literature has long perplexed the writing of contemporary Chinese literary history.This paper attempts to determine and rectify academically several key issues related to the name rectification of migrant worker literature:(1).the writing object of and the writing subject of migrant worker literature;(2).the dispute over "writing in the survival" and "writing for survival";(3).the opposition between the stand of elites and that of the masses.This paper opines that it is necessary to make serrious and conscientious academic judgment and value evaluation between migrant workers and literature,between survival experience and art enhancement,and between the stand of elites and that of masses in the history of contemporary literature.
摘要:The novel Political Study,an outcome expanded on the basis of Liu's original work,has successfully delineated a multidimensional character in officialdom and has exposed the political morbidity of contemporary officialdom.With its persistence in ideals to shed light on social reality,the novel has made a breakthrough in the traditional mode of narration for contemporary officialdom.%长篇小说《政治课》是刘醒龙在原有作品基础上进行拓展的成果,小说成功塑造了一个复杂的官场圆型人物,以讽喻笔法深刻展现了当代官场的政治病态,作品用理想来烛照社会现实的坚守姿态,构成对当代传统官场叙事模式的突破。
摘要:Childhood Tears,written by the modern woman writer Lin Lan,is her last play of children's film literature in her life.Having inherited the May 4th intellectuals' writing tradition of paying attention to the reality and having sympathy for the lower class,the author has pictured profoundly Henan farmers' emotions and desires of struggling against hardship and resisting oppression in the 1940s in a manner of realism.Meanwhile,a vivid and detailed portrayal is given in the novel of the poor rural farm labourers and ordinary people's daily life in a skilful repetitive and contrastive method,thus rendering the novel as a historical document to understand that era and region.With a distinctive flavour of regional culture,this book is a full integration of the author's childhood perception and later years' artistic accomplishment.It is amazing for its superb artistic level by virtue of Henan dialect and its regional culture,which can be described as a wonderful book of Henan regional literature.%《童年泪》是现代女作家林蓝生前创作的最后一部儿童电影文学剧本。作者继承了"五四"知识分子关注现实、悲悯下层人民的创作传统,采用现实主义的创作态度,深刻地反映了20世纪40年代河南农民抗争苦难、反抗压迫的情绪和愿望。同时,作品圆熟地运用反复与对比的艺术手法,生动细致地描绘了农村贫雇农以及普通百姓的日常生活场景,成为我们认识那个时代、那个地域的一部历史文献。作品具有浓郁的地域文化色彩,是作者童年感知与晚年艺术素养的充分融合,它借助河南方言、河南地域文化所达到的高超的艺术水准,是令人称奇的,可谓河南地域文学的奇葩!