【作者】 王俊；

【导师】 陈国恩；

【作者基本信息】 武汉大学 ， 中国现当代文学， 2011， 博士

【摘要】 在40年代,自由主义文学进入到一个新的发展阶段。本论文力图将自由主义文学放在具体的历史语境中,来考察自由主义文学在40年代所面临的压力与挑战,其在不同的政治生态环境中所表现出的不同或相同的审美追求,以及与其它文学类型之间的复杂关系。论文分为七个部分。引言部分主要是对自由主义与自由主义文学的概念梳理,对二者的关系的探讨,对自由主义文学研究现状的描述,以及将40年代自由主义文学作为研究对象的意义的阐述。第一章侧重分析自由主义文学在40年代前半期所面临的压力和挑战。抗战爆发之后,“国族至上”的民族主义成为大后方的主流思想。国民党借着民族主义的大旗,在推行文化复古主义的文化政策的同时,也试图推出带有统制性的文艺政策。在“国族至上”思想的影响下,一部分知识分子转而支持独裁专制。陈铨等“战国策”派知识分子将“国族至上”的思想推向极致,提倡个体绝对服膺的“英雄崇拜”与民族文学运动。左翼文学则充分发挥文学的宣传功能,主张通过文学的大众化等来发动民众的抗日激情。尽管在阶级利益与国族的前途等问题上,国民党政府、支持独裁专制的部分知识分子、“战国策”派知识分子与左翼作家有着不同的诉求,但是他们都强调在战争的特殊环境中,个体应当绝对臣服于国族这个至高无上的集体。他们均将批判的矛头对准了强调个体自由优先性的自由主义和自由主义文学。包括罗隆基、沈从文、朱光潜、梁实秋等在内的自由主义知识分子对此纷纷作出了回应,他们捍卫个体的独立和自由,强调文学的自由和自由的文学。第二章重点审视国统区的自由主义文学。朱光潜、施蛰存、梁实秋等通过批评文学上的“弊与病”来捍卫自由主义文学的醇正与健康。在具体的文学创作上,梁实秋有意识地将目光转向远离战争的日常生活,试图在最日常的平凡生活中发现人生的诗意,在琐碎而庸常的现象背后发现永恒的人性。徐舒与无名氏则试图在文学的世界中,突显出对个体生命的尊严与价值的关注。在其“新个性主义”的文学思想中,个体自由的优先性成为一种审美追求。在冯至的文学世界中,理想的个体是一个“完整的人”。这个“完整的人”怀着赤子之心与自然生命息息相通,也在生命的一次次抉择中表现出对责任的勇敢承担。40年代的沈从文则力图在超越此前的牧歌风格的同时,积极尝试用更合适的文学形式来表现生命的最高形式——美与爱。他希望创造“神在我们生命里”的“奇书”,来实现社会重造、国族重造的文学理想。第三章关注的是沦陷区尤其是上海沦陷后的自由主义文学。在沦陷区特殊的政治生态环境中,在言与不言之间,作家尤其是自由主义作家表现出了某种能动性。一方面,在政治高压之下,他们失去了自由表达的文学空间。一方面,他们又充分地利用一切写作机会,将自我对战争的生命体验高度个人化。同国统区的梁实秋相似,沦陷区的作家也试图在日常生活中寻找“永恒的东西”。张爱玲以高度自觉的美学追求成为沦陷区文学中的翘楚。钱钟书则以“潜在写作”的方式表达出自我的分裂与迷失。第四章试图分析在一批左翼作家身上呈现出的,左翼文学与自由主义文学相互调和的倾向。与毛泽东话语主张通过社会革命解放个体不同,国统区的胡风等“七月派”作家则强调,将个体从历史暴力的断伤中解放出来才是文学的首要任务。延安文艺座谈会召开之前的丁玲、王实味等,以及跨越延安解放区与东北解放区的萧军,则表现出在知识分子、作家、革命干部、共产党员等多重角色之间的游移性。这种游移性使他们更多地倾向于保有知识分子与作家的身份。与毛泽东代表的革命政权强调鲁迅后期的思想转变不同,胡风、丁玲、萧军等人则承继鲁迅的对内批判精神,希望通过对革命展开批判,实现革命内部的革命,从而使革命体制下的个体获得彻底的解放。同时,胡风等人又往往以左翼文学的正统自居,对自由主义作家展开批判。所以,他们虽然带有自由主义文学的倾向,但并不属于自由主义文学。第五章重点分析第二次国共战争期间,包括自由主义作家在内的一批自由主义知识分子所面临的一次重要的抉择。在中国向何处去的问题上,自由主义知识分子站在中间的位置,试图规划出一个“想像的共同体”。国民党文人提出了“文艺再革命”的口号,企图以所谓的“戡乱文艺”来配合当下的战争。左翼文学的主流则按照《在延安文艺座谈会上的讲话》,提出“人民的文学”的新方向。在“人民的文学”的召唤下,朱自清、冯至、李广田等一部分自由主义作家逐渐向左转。而沈从文、朱光潜、杨振声、袁可嘉等自由主义作家仍然坚持自由主义的文学立场。在左翼文学的新方向的压力下,他们试图重构自由主义的文学理念。结语部分希望通过自我质问的方式,省察自我的研究立场。更多还原

【Abstract】 Liberalism literature in the 1940s entered a new stage of development. This paper tries to examine liberalism literature in the specific historical context of that period when it encountered pressure and challenges, and in a different political environment, in which it showed the various or identical aesthetic pursuits and its complex relationship with other types of literature.The paper, which is divided into seven sections, starts with an introduction to liberalism and the concept of liberalism literature as well as their relationship, to the status quo of liberalism literature studies, and to the significance of studying the 1940s’ liberalism literature.The first chapter focuses on analysis of the pressure and challenges liberalism literature faced in the first half of the 1940s. After the outbreak of the war against Japanese Invasion, "nation priority" nationalism became the mainstream ideology in the Rear Area. By the banner of nationalism, the Kuomintang implemented the culture-revivalism policies, but also tried to launch a ruling arts policy. Under the influence of the "nation priority" ideas, some of the intellectuals favored dictatorship. Chen Quan and other so-called "Warring States Strategies" intellectuals, held the "nation priority " idea to the extreme, promoting the "hero worship" and National Literature Movement which advocates absolute obedience of each individual. By contrast, Left-wing literature was putting the publicity function of literature into full play, advocating the adoption of literature popularization and other means to launch people’s anti-Japanese passion. Although the intellectuals were in support of the KMT government, "Warring States Strategies" intellectuals and left-wing writers had different demands in the class interests, the nation’s future and other issues, they all have emphasized that in the special circumstances of the war, the individual should be absolutely subservient to the supremacy of the collective nation. All of them were criticizing liberalism and liberalism literature which advocated the priority of individual freedom. Liberal intellectuals including Luo Longji, Shen Congwen, Zhu Guangqian, Liang Shiqiu, etc., responded to defend individual independence and freedom, emphasizing the literature of freedom and the freedom of literature.The second chapter focuses on examining the liberalism literature in the area under KMT ruling. Zhu Guangqian, Shi Zhecun, Liang Shiqiu and others defended the mellow and health of the liberalism literature through criticizing the "disadvantages and disease" of literature. In the specific literature, Liang Shiqiu consciously turned away from the war to the daily life, trying to find a poetic life in the most ordinary life and to find the eternal human nature behind the trivial and ordinary phenomenon. Xu Xu and Wu Mingshi tried to highlight individual’s life dignity and value. Behind their "new individualism", in fact, the priority of individual freedom has become an aesthetic pursuit. Feng Zhi showed his concern for individuals in his literary world, in which the ideal individual is the "whole person". This "whole person" with new born spirit and correlating with natural life shows its courage to bear the responsibility while facing a second choice in life. Shen Congwen in 1940s was in a bid to surpass the previous pastoral style, while actively trying to use a more appropriate form of literature to represent the highest form of life-i.e. beauty and love. He hoped to create "God-in-our-life" masterpieces to achieve socially and nationally re-created literary ideals.The third chapter concerns liberalism literature in occupied area, especially in Shanghai. In the special political environment of occupied area, writers, in particular liberalism ones, showed a liberal initiative verbally or nonverbally. On the one hand, under political pressure, they lost the freedom of expression in the literary space. On the other hand, they took full advantage of all the writing opportunities to personalize the self-life experience of the war to a high degree. Similar to Liang Shiqiu living in the KMT-ruled area, the writers in occupied area tried to find eternity in everyday life. Zhang Ailing was in a highly conscious literary aesthetic pursuit and became the leader of literature in occupied areas. And Qian Zhongshu expressed self split and lost by means of "potential writing".The fourth chapter attempts to analyze a group of left-wing writers who showed the tendency of the reconciliation between left-wing literature and liberal literature. Different from Mao Zedong’s discourse advocating the liberation of the individual through social revolution, "July School" writers represented by Hu Feng in the KMT ruling area stressed the primary task of liberating the human nature from destruction of the historical violence. Ding Ling and Wang Shiwei before the concening of Yan’an Forum as well as Xiao Jun living through the Yanan liberated area and the Northeast liberated area were waveringly playing the multiple roles of intellectuals, writers, revolutionary cadres, party members, which made them more inclined to keep the identity of intellectuals and writers. And different from representatives of the revolutionary regime of Mao Zedong emphasizing the different ideological transformation of Lu Xun later, Hu Feng, Ding Ling, Xiao Jun and others inherited the spirit of Lu Xun’s internal critical spirit, hoping to expand the criticism of the revolution and realize the revolution within the revolution so that the individual can be completely liberated under the revolutionary system. Meanwhile, Hu Feng and the others who often considered theirs the orthodox literature launched critique against liberalist writers. Therefore, although they showed the tendency of liberalism literature, but their works can not be categorized as liberalism literature.Chapter V analyzes another important choice the liberal intellectuals including a group of liberal writers were facing during the second war between the KMT and the Chinese Communist Party. On the issue of where China to go, liberal intellectuals stood as moderate, trying to plan a "Imagined Communities". Nationalist scholars put forward the slogan of "re-revolution in art" in an attempt to meet the current war with so-called "insurgency-suppressing literature and art". In accordance with "Speeches at the Yan’an Forum on Literature and Art", the mainstream left-wing literature turned to the new direction of "people’s literature". In its call, some liberalist writers including Zhu ziqing, Feng Zhi and Li Guangtian turned to the left-liberal circle while the other liberalist writers such as Shen Congwen, Zhu Guangqian, Yang Zhensheng, Yuan Kejia, etc still insisted on liberal literary position. Under the pressure of new direction of the left-wing literature, they tried to reconstruct the literary concept of liberalism.Epilogue engages in introspection of the self-study position through self-questioning.更多还原