【作者】 吴萍萍；

【导师】 刘铁群；

【作者基本信息】 广西师范大学 ， 中国现当代文学， 2005， 硕士

【摘要】 狭邪小说作为近代小说史上与侠义公案小说、谴责小说鼎足而三的一个小说类型,其研究仍然处于相对薄弱状态;郁达夫小说研究中对于其受日本文学和西方文学影响的一面研究较多,而对传统文化在郁达夫小说创作中产生的潜在影响的探讨一直是郁达夫小说研究中的薄弱环节。本文通过将近代狭邪小说与郁达夫小说进行比较,进一步揭示近代狭邪小说的独特内蕴,并切入郁达夫小说研究中的薄弱环节,以展示郁达夫小说创作中受传统影响的一面。近代狭邪小说作者与郁达夫的处境都很艰难。前期狭邪小说作者走的是传统文人读书入仕、博取功名、光宗耀祖的人生道路,然而他们却怀才不遇、科举失意,生活还陷入贫困之中。后期狭邪小说作者到上海谋生,是转型期文人,他们的社会地位急剧下降,不仅失落了传统士大夫的权利,作为“四民”之首的“士”的精神领袖地位也旁落了,生活方式的变化还让他们产生了矛盾痛苦的情绪,他们的处境十分尴尬。郁达夫也遭受过不少挫折:仕途失意、理想遭受打击;生活困窘、时常为了生活而辗转奔波;孤独和性的苦闷还时常来困扰他。可以说,近代狭邪小说作者与郁达夫均陷入人生的困境之中,郁积块垒和牢骚于胸,需要发泄,他们继承了古代“发愤著书”的传统,小说成为他们发泄牢骚、消解怨愤、补偿失落、寄托理想的最好方式。近代狭邪小说作者与郁达夫均采用了传统倡优士子的模式来结构小说,并借以发泄心中的牢骚。他们对倡优士子模式的选择都是由一定的主客观原因所决定的。就近代狭邪小说作者而言,近代娼妓业的发达、作者自身的狭邪经历、倡优小说独特的文化意义和作者本人倾诉的愿望是促成他们选择该模式的主客观因素。对郁达夫而言,追慕古代名士的风流潇洒、其自身的狭邪经历以及希望通过妓女题材批判社会等因素使得传统的倡优士子模式也成为了他的必要的选择。近代狭邪小说是传统倡优士子模式发展的末流,而郁达夫小说则是传统倡优士子模式在现代的发展和变异。前期狭邪小说作者通过小说中的名士美人来寄托现实失意的牢愁;后期狭邪小说作者则通过小说发泄在现实中遭受冷落的恶气,并为自身的尴尬处境开释。他们的作品均表现出传统文人自恋自怜、自我欣赏的态度。郁达夫小说则是从发泄其个人牢骚出发,在描写个人苦闷的同时也表现了时代的苦闷,不仅将自己的灵魂暴露给世人,还将批判的笔触直接指向不良的社会。近代狭邪小说和郁达夫小说中都描写了众多的女性,然而作者创作小说的主要目的是发泄自身的牢骚,因此女性实际上并没有成为他们真正关注的对象。狭邪小说中,男性占据主导地位,以救世主自居,女性则处于从属地位,是被欣赏、被看的对象,小说中两性地位极不平等。郁达夫小说中有对于女性的成功描写,但郁达夫身上又有着浓厚的传统文人气质和习性,其潜意识里仍然摆脱不了传统文化中男尊女卑的思想意识,其小说中的女性地位仍旧没有得到根本的改变。对每个人而言,传统都是无法摆脱的。前期狭邪小说作者虽已身处近代,但他们的人生理想仍然摆脱不了传统文人的模式;后期狭邪小说作者属于转型期文人,在新与旧的冲突中他们又更多的体现出对于传统的回归;郁达夫深受外国文学的影响,并且在是外国文学的刺激下开始小说创作的,然而传统文化的潜在影响在他小说中仍然留下了明显的痕迹,这使得他的小说充满了矛盾。但是,作为五四时期的进步作家,郁达夫在传统与现代之间,毕竟迈出了通向现代的艰难的一步。更多还原

【Abstract】 Together with chivalrous novel and denouncement novel, as one of the main three categories of novel in modern history, the courtesan novel has not received serious and detailed studies. On the other hand, the study of Yu Dafu’s novels emphasizes more upon the influence from Japan and Western literature and pays little attention to the latent influence of Chinese traditional culture. Through a comparative study between the courtesan novel and Yu Dafu’s novels, this essay endeavors to reveal the particular connotation of the courtesan novel and pierce into the weak segment in the study of Yu Dafu’s novels, exhibiting the other side of traditional influence upon his novels. Both the courtesan novel writers and Yu Dafu lived a hard life. The earlier writers of the courtesan novel chose the traditional life to study for becoming an officer and to fight for his own fame and for honoring his ancestors, however, their talents had never been recognized after losing their opportunity in official exams and they lived even in poverty. The later writers of the courtesan novel were intellectuals in a period of transition in Shanghai. Their social position descended rapidly: they lost not only the privilege of the traditional intellectuals but also the position of spiritual leader as “scholar-officers”, the head of “four occupations”. The change of life style produce some contradict and painful emotions among them. Yu Dafu also suffered a lot of setbacks in his life: the disappointment in official life, the strike to his ideal, the life in poverty, the loneliness and the sexual depression. It can be inferred that both the courtesan writers and Yu Dafu fell into dire straits of life and they had to give vent to their dissatisfaction and their complaint to the society. Therefore, following the ancient tradition of “writing for expressing”, the novel became the best way for them to vent their discontent, to dissolve their resentment, to compensate their lost and to project their ideal. With regards to the text, the courtesan novel writers and Yu Dafu both adopt the traditional mode of scholar-courtesan as the basic construction of their stories. Their choice of such a mode is based upon some subjective and objective grounds. To the modern writers of the courtesan novel, the flourishing of prostitute in modern times, their own personal experience with prostitute, the particular cultural significance of the courtesan novel and their own wish to express, all contribute to their adoption of the traditional mode. For Yu Dafu, to follow the urbane act of ancient famous persons, his own experience with prostitute and his wish to criticize the society by the subject matter of prostitute, all of these make the traditional mode of scholar-courtesan his necessary choice. However, the courtesan novel is only the end of the development of the scholar-courtesan mode, but Yu Dafu’s novels is the new development and the alienation of such mode in modern time. The earlier writers of courtesan novel try to project their discontent to the real life upon famous scholars and pretty women in their novel; the later writers endeavor to air their grievances to their cold reception in the society and to excuse for their predicament. Both of them show the narcissism of traditional intellectuals. However, Yu Dafu’s novels starting from the vent of one’s own complaint, not only expose his soul to the world, but also extend his criticism directly to the corrupted society. They depict the depression of the epoch as well as his own depression. Both the courtesan novel and Yu Dafu depict a lot of female figures, but the end of their writing is only for the expression of their own comlaint, therefore the phenomenon of female never becomes the really intended subject. In the courtesan novel, the male always holds the leading position as the saver and the female is in a subordinate situation as the observed and the enjoyed object. In Yu Dafu’s novels, there is successful depiction of female figures, but the traditional concept of the male’s superiority over female unconsciously determines that there is no radical change of female position in his novels. For everyone, the tradition is always something that cannot be got rid of. The earlier writers of courtesan novel although live in modern time, their ideal still keeps the mode of traditional intellectuals. The later writers live in a period of transition, in the painful contradiction of new and old, their writings exhibit more the return to the tradition. Yu Dafu was deeply influenced by foreign literature and began his creation under the motivation of foreign literature. On the other hand, the traditional impact still limits his novels, which leads to the contradictions in his novels. Nevertheless, as one of the advanced writers in May-fourth epoch, Yu Dafu took the difficult step towards the modernity in his predicament between tradition and modernity.更多还原