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解放区前期诗歌研究（1936—1942）

【作者】刘金冬 【导师】王光明

【作者基本信息】首都师范大学，文艺学，2006年，博士


【摘要 (中文/英文)】 本文的研究对象具有明确的时空特点:1936——1942年的解放区诗歌。选取这一具体的时空限定可能“有些武断和偶然”,因为历史是一个连续不断的过程:它既不以某一个具体的时间为开始,也不以某一个具体的时间为结束,这就是人类精神世界的复杂性。但一段历史总有其主流特征或说时代精神,因此在某一历史横截面上,就有可能集聚了一些能够表明历史转折方向的有价值的问题,所以,对于研究者来说,选取某一时间段又是必要的。 对于解放区文学来说,审美的意识形态化是其最重要的美学特点。因此,不同的历史时期,由于政治形势的不同,审美意识形态也会随之发生变化。1936——1942年是一个与此前的苏区文学和此后的“工农兵”文学方向都有着明显区别的特殊时期:民族主义精神的空前高涨,国共两党抗日民族统一战线的建立,抗战建国的共同纲领等,不仅暂时弥合了国共两党的政治裂隙,而且也提升了这一时期延安作家的精神境界。中国共产党对抗战前景的展望和对未来新中国的梦想,潜移默化地成为延安作家的理想。因此,一个统一、自由、独立的民族共同体,是来自于不同地区、不同阶层、怀有不同思想的延安作家共同的集体性想象。 这一时期延安的文化环境一方面是“亲苏”:文化界对高尔基、马雅可夫斯基等前苏联作家表示了最大的敬佩,但每个作家可以有自己的理解;另一方面是高举鲁迅为新文化运动的“旗手”,但毛泽东等领导人的鲁迅观与萧军等文化人的鲁迅观有着巨大的差异:鲁迅在延安是整合知识分子的旗帜,但这个时期还在其被意识形态化的过程中。此时,张闻天主管延安的文艺政策,他不仅深知并尊重知识分子特点,更鼓励作家和文艺理论家进行自由创作和独立思考。与《讲话》之后延安作家被迫进入体制不同,此时的作家能够自觉地在“抗战”和“建国”的两大前提之下,进行个人不失热情与真诚的创作和思考,因此,创作与理论也相对复杂与丰富。 在诗歌创作方面,朗诵诗和街头诗运动显示了延安初期大众化诗歌的方向和成就;1940年-1942年是延安诗歌的丰收期:何其芳、卞之琳、艾青等成名诗人的诗歌创作代表了这一时期的最好成绩。何其芳对诗人“自我”的歌唱,卞之琳对诗歌艺术形式的经营,艾青的“自由写作”,某种意义上都构成了对延安文学观念的突破,成为当时诗歌创作的“异数”。曹葆华、师田手、陈学昭、林今明等诗人都写出了一些至今还未被重视的优秀诗作。 在理论建设方面,不论是关于文学“大众化”问题的讨论还是有关文学新的“民族形式”建构,都是以当前抗战现实的需要和未来新中国新文化建设为指向,诉诸文学的“民族性”和“现代性”为目标的。在文学“大众化”的标准、途径和文学“民族形式”的资源问题上,延安作家意见分歧。尤其是关于文学“民族形式”问题的讨论,分歧更大:萧三重视诗歌的通俗化和宣传性功能,主张新诗发展应以古典诗歌和民间歌谣为基础建立新诗的“民族形式”;何其芳更重视“五四”的新诗传统,建议诗歌的普...

The object of the study has a clear temporal-spatial feature: the revolutionary district poetry of 1936-1942. This specific temporal and spatial choice may be arbitrary and contingent, because history is a continuum. But a certain segment of history has its own dominant characteristic or epochal spirit, and there perhaps accumulates some valuable problems which indicate the transitional direction of history at a cross section, hence taking a segment of history as object of study is indispensable. Ideologization of the aesthetic is the most important aesthetic characteristic of the revolutionary district literature. 1936-1942 is a special period which has conspicuous differences to the Chinese Soviet Area literature and the“workers, peasants and soldiers”literature. The revolutionary district literature has its special historical backgrounds: unprecedented soaring of the nationalist spirit; the establishment of the united front of the War of Resistance against Japan; the formulation of common guiding principles etc. Those temporarily closed the political rift of the Communist Party and the Kuomintang, and upgraded the spiritual realm of the Yan’an writers of this period. By reports and propaganda, the Party’s expectation of the War of Resistance and its dream of the future of a new China exerted subtle influences on the Yan’an writers, and penetrated into their utopia ideal. Consequently, those Yan’an writers coming from different districts, classes and holding different ideas constructed a united, free and independent national community by their collective imagination. “Pro- Soviet Union”is one aspect of the Yan’an cultural environment of that period, esteeming Lu Xun as the leader of the New Culture Movement is another. Lu Xun is a powerful weapon for integrating the Yan’an intellectuals, although he was still being in the process of ideologization. At that time, Zhang Wentian was in charge of Yan’an literary policy. He not only knew the writers’nature and respected them, but also encouraged the writers and literary theorists to create freely and think independently. It is different to the writers who were institutionalized after Mao’s Talks at the Yan’an Forum on Literature and Art, and the writers of this period consciously created and thought under the premises of“Resistance”and“State-founding”. To literary creation, the movement of recital poems and street poems indicates the directions and achievements of the popular poetry of the early Yan’an period. 1940-1942 is the harvest period of Yan’an poetry: the poems of He Qifang, Bian Zhiling and Ai Qing etc. are the masterpieces of the period. Cao Baohua, Shi Tianshou, Chen Xuezhao and Lin Jinming etc. Wrote many excellent poems which have not been read until now. To theoretical construction, whether the discussion of the popularization of literature or the construction of a new literary“national form”are directed by the need of current

【关键词 (中文/英文)】 解放区诗歌; “民族形式”; 《讲话》; 抗战建国; 文化想象 revolutionary district poetry ; “national form”; Mao’s Talks at the Yan’an Forum on Literature and Art ; the War of Resistance to Japanese and the construction of a new China; cultural imaginatina

【发表年期】2006年12期 【网络出版投稿人】首都师范大学 【DOI】CNKI:CDMD:1.2006.128634 攻读期成果