【作者】 朱琳；

【导师】 宋伟；

【作者基本信息】 辽宁大学 ， 文艺学， 2023， 博士

【摘要】 报告文学在中国作为一种后发性文体,经历了近百年的发展历程。在中国现当代文学发展的整体历程中,报告文学已经与小说、诗歌等文体并肩,共同促进现当代文学的发展。本文将中国报告文学文体作为研究对象,从报告文学文体发展历程入手,对报告文学文体涉及的相关问题进行系统的梳理。在此基础上,对报告文学的文体特征、属性、文体功能等进行考察,以期对报告文学文体作进一步辨析。本论文主要分为6章。第一章是绪论,主要阐释本文的研究方法和切入视角,以及现有的研究情况等。从文体学切入报告文学,集中考察报告文学的文体属性是本文的重要立足点,以往的研究将关注点集中于文学现象和文本层面,侧重于文学史的梳理和探讨,本文将视野回落入报告文学文体本身,通过历时性的梳理,结合文体学、文体功能学、叙事学等研究视角与方法审视报告文学的文体维度。第二章探讨中国报告文学形成初期不同的起源观点及论说。这是追溯报告文学文体意识萌生的基础。对于报告文学起源的探讨,其实质是对报告文学文体观形成的雏形进行探讨。将文体意识问题融入报告文学起源问题进行互文性探讨,这也是本文与其他研究的不同之一。在报告文学缘起问题上大致形成了三种不同的观点,一是认为报告文学古已有之,而且可以追溯到很早的史传文学等,二是认为报告文学产于近现代,三是认为报告文学是“舶来品”。这三种观点的交织形成了多种对报告文学不同的看法和理论认知,也构成了不同报告文学文体观的基本雏形。本文认为中国报告文学虽然作为一种后发性文体,中国传统文学构成了其作为独立文体的前提和基础,因此不能简单地将报告文学视为“舶来品”。中国报告文学是近代以来文体发展的必然,它受到中国古典文学作品及其理论的滋养和影响,同时也受到西方的外来文学资源的促进,它的产生和发展应和了时代需求,它是中国现代性进程的产物。从文体发展历程看,它的根基是源于中国,其文体属性与传统文体密切相关。第三章针对近代以来报告文学文体发展和演进的路径做整体的概览。尝试通过纵向的历时性梳理,对不同时期中国报告文学文体发展情况进行描述,以期展现出在不同的社会发展时期中国报告文学作为独立文体的发展风貌及所体现出的相应的文体观。本章将历时性梳理与文体观的流变融合在一起探讨,从不同的时间分期考察报告文学在不同时期呈现出的文体特征。主要将报告文学文体发展分为三个大的阶段和九个不同的时期,其中文体的孕育和初步成长期为19世纪末到20世纪30年代,在这一阶段报告文学上承中国古典散文等文体,在西方报告文学理论引介的影响下,同时受到“左联”的推动,逐渐形成了自己的文体意识。第二阶段即20世纪30年代中期到50年代中期,中国报告文学取得了初步的繁荣,报告文学作为一种独立的文学文体也逐渐被人们所认知,但伴随着文体功能认识的误区,报告文学发展走向僵化,文体发展也出现曲折。第三阶段是20世纪70年代末至今,中国报告文学经历了复苏、调整、拓展与转型,走向了更高的发展阶段。在新世纪,报告文学实现了文体的多元化、综合化发展路径,它以多元包容的发展态势,迎接着新的发展机遇与挑战。第四章将研究视角从历时性梳理转向了对报告文学文体特征的分析。重点从报告文学的“真实性”“新闻性”“文学性”三个维度探讨报告文学的文体特质。在讨论过程中,本章着重结合文体历史发展过程中不同时期报告文学作家、理论家对这些问题的认识和在实践过程中所呈现的文体自觉等展开论述。关于报告文学“真实性”的问题可以说是报告文学文体的核心问题,从一开始就成为讨论的重点和热点,而且研究者对这一问题的关注百年来持续不断。报告文学的文体真实即是生活的真实、艺术的真实也是本质真实。报告文学的“新闻性”是报告文学作为以报纸为物质载体文体的重要特征。恰恰是“新闻性”使报告文学的文体属性具有复杂性和独特性,报告文学也由此与其他文体之间获得了鲜明的区分。而报告文学的“文学性”促使报告文学具有了跨文体的文体属性,它不仅将报告文学在文学与非文学之间作出区分,同时也将报告文学与新闻、消息及“非虚构写作”等进行区分。第五章则从文体功能角度对报告文学的文体功能进行考察。结合文体功能学视角着重从报告文学的现实功能、社会功能、审美功能等维度探讨报告文学的文体功能。报告文学是对现实生活的反映,它的重要的功能之一即是对现实的反映和影响。整体而言,报告文学的现实功能表现为对现实社会变化的即时性记录。报告文学对现实生活的干预功能是报告文学记录现实功能的延伸和扩张,它更强调了报告文学在与生活关系中所表现的能动性。报告文学作品积极介入生活,不仅仅是创作者要亲身融入生活,更为重要的是通过作品揭示社会问题、批判不良现象,对社会发展和人民生活肩负起社会职责,对社会风尚具有一定的引导作用。审美功能是报告文学文体发展的内在属性,包括真实美、理性美、艺术美等,审美功能不仅决定着报告文学作品的成败,更承担着对接受者审美水准提升的重要使命。在新世纪,随着文体的不断发展报告文学的审美转向为报告文学文体发展带来了新的活力。第六章从叙事学视角入手,进一步从文本内部考察报告文学文体问题,注重对报告文学的叙述语言、叙述视角、叙述者及结构等进行考察。文学文体的存在形态是通过语言和叙事呈现的,报告文学文体的存在模式也是通过语言实现的。就报告文学文体的独特性而言,与其他文学文本和新闻体作品相比,在叙述视角的选取、叙述语言和叙述时间的运用方面有着独特性。从叙事学视角审视报告文学不仅可以厘清报告文学文体内涵,而且还有助于进一步辨析报告文学与一般意义上的文学、新闻之间的关系。更多还原

【Abstract】 Reportage,as a latecomer style of writing in China,has undergone a hundred years of development.In the development of modern and contemporary Chinese literature,reportage has played an increasingly important role alongside novels,poetry,and other styles.This article takes the Chinese reportage style as the research object,starting with the investigation of the development process of the style,and systematically combs the stylistic issues of reportage,with a view to obtaining a clearer understanding of the stylistic characteristics and attributes of reportage.This article is mainly divided into six chapters.The first chapter is an introduction,mainly explaining the research methods and perspectives of this article,as well as the existing research situation.The important foothold of this article is to focus on investigating the stylistic attributes of reportage from the perspective of stylistics.Previous studies have focused on literary phenomena and text levels,focusing on the collations and discussions of literary history.This article returns its perspective to the style of reportage itself,and examines the stylistic dimensions of reportage through diachronic analysis,combining research perspectives and methods such as stylistics,stylistic functionalism,and narratology.The second chapter explores the different viewpoints and arguments on the origin of Chinese reportage in its early stages,which is the basis for tracing the emergence of reportage stylistic awareness.The essence of exploring the origin of reportage is to explore the embryonic form of the stylistic concept of reportage,and to integrate the issue of stylistic awareness into the issue of the origin of reportage for intertextuality.This is also one of the differences between this paper and other studies.There are generally three different views on the origin of reportage.One is that reportage has existed since ancient times and can be traced back to very early historical and biographical literature.Another is that reportage originated in modern times,and the third is the reportage is "imported.".The interweaving of these three viewpoints has formed a variety of different views and theoretical understandings of reportage,and also formed the basic prototype of different stylistic views of reportage.This article holds that although Chinese reportage is a latecomer style,traditional Chinese literature constitutes the premise and foundation for its independent style development,so reportage cannot be simply regarded as "exotic".Chinese reportage is an inevitable development of style since modern times,and it is nurtured and influenced by Chinese classical literary works and theories,as well as promoted by foreign literary resources from the West.Its emergence and development meet the needs of the times,and it is the product of the process of Chinese modernity.From the perspective of the history of stylistic development,its roots originate in China,and its stylistic attributes are closely related to traditional styles.The third chapter gives an overall overview of the development and evolution of reportage style since modern times.This article attempts to describe the stylistic development of Chinese reportage in different periods through a longitudinal diachronic comb,with a view to displaying the development style and corresponding stylistic views of Chinese reportage as an independent style in different social development periods.This chapter explores the integration of diachronic combing and the evolution of stylistic perspectives,examining the stylistic characteristics of reportage in different periods from different times.The development of reportage style is mainly divided into three major stages and nine different periods,in which the gestation and initial growth period of style was from the late 19 th century to the 1930 s.During this stage,reportage inherited styles such as Chinese classical prose,and under the influence of the introduction of Western reportage theory,while being promoted by the "Left League",and gradually formed its own sense of style.In the second stage,from the mid-1930 s to the mid-1950 s,China’s reportage achieved initial prosperity.As an independent literary style,reportage has gradually been recognized by people.However,with the misunderstanding of stylistic functions,reportage has become rigid and the development of literary style has also experienced twists and turns.The third stage is from the late 1970 s to the present.Chinese reportage has experienced recovery,adjustment,expansion and transformation,and has moved to a higher stage of development.In the new century,reportage has realized the media-oriented,diversified and comprehensive development path of its style.It is embracing new development opportunities and challenges with a diverse and inclusive development trend.The fourth chapter shifts its perspective from diachronic analysis to the analysis of the stylistic characteristics of reportage,focusing on the stylistic characteristics of reportage from three dimensions: "authenticity","journalistic",and "literariness".In the process of discussion,this chapter focuses on discussing the understanding of these issues by reportage writers and theorists in different periods during the historical development of literary style,as well as the stylistic awareness presented in the practice process.The issue of "authenticity" in reportage can be said to be the core issue of reportage style,which has been the focus and hot topic of discussion since the beginning,and researchers have been paying constant attention to this issue for a hundred years.The stylistic truth of reportage is the truth of life,and the truth of art is also the essential truth."Journalism" of reportage is an important feature of reportage as a literary style with newspapers as its material carrier.It is precisely "journalistic" that makes the stylistic attributes of reportage complex and unique,and thus distinguishes reportage from other literary styles.The "literariness" of reportage has enabled reportage to have a cross stylistic attribute,which not only distinguishes reportage from literature and non literature,but also distinguishes reportage from news,dispatch,and "non fictional writing.".The fifth chapter examines the stylistic functions of reportage from the perspective of stylistic functions.Combining the perspective of stylistic functionalism,this chapter focuses on exploring the stylistic functions of reportage from the perspectives of its practical,social,and aesthetic functions.Reportage is a reflection of real life,and one of its important functions is to reflect and influence reality.On the whole,the realistic function of reportage is to record the changes in real society in real time.The intervention function of reportage in real life is an extension and expansion of its function of recording reality,which emphasizes the dynamic nature of reportage in its relationship with life.Reportage works actively participate in life,not only do creators need to integrate themselves into life,but more importantly,they reveal social problems and criticize negative phenomena through their works,shoulder social responsibilities for social development and people’s lives,and have a certain guiding role for social trends.Aesthetic function is the inherent attribute of the development of reportage style,including true beauty,rational beauty,artistic beauty,and so on.Aesthetic function not only determines the success or failure of reportage works,but also undertakes the important mission of aesthetic improvement for the recipient.In the new century,with the continuous development of style,the aesthetic shift of reportage has brought new vitality to the development of reportage style.The sixth chapter starts from the perspective of narratology,further examining the stylistic issues of reportage from within the text,focusing on the narrative language,narrative perspective,narrator,and structure of reportage.The existing form of literary style is presented through language and narration,and the existing mode of reportage style is also realized through language.In terms of the uniqueness of reportage genre,compared with other literary texts and journalistic works,it has uniqueness in the selection of narrative perspectives,the use of narrative language,and the use of narrative time.Examining reportage from the perspective of narratology can not only clarify the stylistic connotation of reportage,but also help to further distinguish the relationship between reportage and literature in the general sense,as well as news.更多还原