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纪录与想像之间

【作者】马彧 【导师】朱晓进

【作者基本信息】南京师范大学，中国现当代文学，2006年，博士


【摘要 (中文/英文)】 本论文以上世纪三四十年代的抗战小说为研究对象，从纪录和想像这两种不同的写作方式出发，分五章探讨抗战小说叙事的流变过程。论文认为，在三四十年代战争文化心理的规范下，抗战小说与五四新文学传统显示出截然不同的特征。对民族化的强调，抗战小说叙事借用并发展了某些传统小说叙事结构、叙事方式，甚至对传统经典叙事直接借用。而这一叙事策略，目的在于进一步完成知识分子的启蒙想像。除了重新把民间话语体系纳入小说叙事，基于表现战争现实的需要，抗战小说还出现了“纪录”的倾向，在这一过程中，报告文学、集体写作，群众写作成为潮流，也意味着作家独立性、个体性的渐渐丧失。在二元战争文化规范下，纪录与想像的共同作用，抗战小说形成了写典型环境中典型性格的叙事“指导思想”。在此期间，胡风与茅盾就如何写典型发生了强烈的冲突，冲突最终以政治的介入令茅盾获得胜利，从而进一步确定了抗战小说的经典模式。在一种典型性、必然性原则的支配下，抗战小说中出现了知识分子成长叙事、农民成长叙事、女性成长叙事这三种叙事模式。论文分别对此展开了论述并发现，每一种成长叙事都按照既定的想像原则设置，然而在叙事过程中，却不断地有溢出这一既定叙事的方面，甚至出现了反成长叙事。论文认为，这一现象正是基于知识分子对纪录与想像这两种写作方式的不同选择。 本研究的创新意义首先在于，以纪录与想像这两种写作方式为切入点，为抗战小说叙事研究提供了一个全新的思路，改变了之前抗战小说按照地域和政治意识形态来研究的“各自为战”的状况，将抗战时不同政治形态与地域的小说叙事纳入了一个整体范畴，并因此发现了抗战小说中丰富、重要但常被忽略的叙事内容、模式及其意义，这些内容都对其后数十年的现代小说叙事有着不容忽视的影响。这一思路对今后的抗战小说研究具有一定的启发意义。本论文选择从民间话语体系、典型化、成长叙事角度来分析抗战小说叙事内容、模式及其发展流变，最大程度地接近了抗战小说的本体内涵，具有独特的文学史意义。本研究的意义和贡献还在于，揭示了从纪录与想像的关系角度研究现代文学的有效性和优势，这不仅仅就抗战小说而言，更有助于我们找寻到现代文学的某些流变规律。

This paper focuses on two different writing styles of recording and imagination in Kangzhan (Anti-Japanese War) novel. It explores the evolution of narratives in Kangzhan novel in 5 chapters. It argues that framed by the war culture and psychology in the 1930s and 1940s, Kangzhan novel shows different characteristic from May Fourth novel. Emphasizing the project of nationalization, Kangzhan novel uses and develops narrative structure and style from traditional novel. Sometimes it even takes the classic narrative directly. The purpose of this narrative strategy, however, is to accomplish the enlightenment imagination of intellectuals. Besides incorporating unofficial discourse into novel narrative, Kangzhan novel also shows the trends of "recording", driven by the need of reflecting the reality during the war. In the process of the war, reportage, collective writing and mass writing becomes the mainstream. It means the loss of the individuality and independence of writers. Under the influence of duallistic war culture, recording and imagination work together, and form the writing dogma of "typical character in the typical environment". In the meanwhile, Hu Feng and Mao Dun crashed in how to write type. The crash ended with the triumph of Mao Dun over Hu Feng, due to the intervention of politics. This outcome finally defines the classic mode of Kangzhan novel. Under the control of this principle, Kangzhan novel forms the intellectual growing-up narrative, peasant growing-up narrative and female growing-up narrative. This paper discusses on these three narrative styles and finds that every narrative starts from original imagination principle set ahead, yet in the process, it grows out of its narrative frame, and even becomes an anti-growing-up narrative. This paper argues that it shows intellectuals' different choice from recording and imagination. The significance of this paper is that it takes the writing style of recording and imagination as the point of departure. It offers a new perspective to explore the narrative of Kangzhan novel, thus, changes the situation of looking at Kangzhan novel through the single geographical and political views. Furthermore, it discovers the narrative content, style and their meaning, which are rich, important, and which exert great influence to narrative in following decades, yet are often neglected in Kangzhan novel studies.

【关键词 (中文/英文)】 抗战小说; 纪录; 想像; 民间话语体系; 典型化; 成长叙事 Kangzhan novel; recording; imagination; unofficial discourse; typifying; growing-up narrative

【发表年期】2006年12期 【网络出版投稿人】南京师范大学 【DOI】CNKI:CDMD:1.2006.155683 攻读期成果