【作者】 孙斐娟；

【导师】 王又平；

【作者基本信息】 华中师范大学 ， 中国现当代文学， 2006， 硕士

【副题名】40～60年代农村题材小说创作与批评的个案解读

【摘要】 本论文试图通过对40～60年代中国农村题材小说创作与批评的个案解读,探讨中国当代农村题材小说叙事规范的形成过程。1942年毛泽东《在延安文艺座谈会上的讲话》初步确立了解放区的文艺政策和文学写作的基本规范,作家在创作中自觉遵守这一规范。然而,如何正确理解“规范”并对此有恰如其分的表现,却有一个逐步发展的过程,在具体的操作过程中还出现了一些未意料的背离或抵牾。在这个过程中,文学批评发挥了指导和“规训”的作用,通过批评来一步步校正作家的创作,从方向到艺术细节一一臧否,解释和评定作品的意义,使“规范”得以具体落实到文学创作的各个环节。作家经过文学批评的反复“规训”,逐步学会怎样恰切地表达、实现规范所确立的主题思想,逐渐造就出一种全新的文学写作活动。由此最终确立起中国农村题材小说的经典形态,使文学彻底被纳入体制化的政治秩序中。 《太阳照在桑干河上》和《暴风骤雨》开启了为现实的革命斗争服务的文学写作模式。作家以《延座讲话》指明的文艺政策和思想规范创作,实现了对乡村社会现实的革命化叙事和规范化表述。但是作品也在无意间泄漏出乡村社会的矛盾斗争与党的政策文件规定之间的裂隙,动员农民的曲折和复杂过程更折射出农民在革命进程中的被动地位。 《不能走那一条路》接续了解放区农村小说的叙事规范,深刻把握住了建国之后农民的私有观念和发家意愿与中共所要推动的集体主义道路之间的矛盾,提炼出改造农民的小生产者私有思想的主题。作品及相关评论把农民的物质欲望和发家致富的小生产者思想与社会主义思想的冲突误读为资本主义和社会主义两条道路的斗争,开启了其后“农村题材小说”创作中一个稳定而持久的主题。 《三里湾》扩展了《不能走那一条路》所反映的两条路线斗争的主题,将合作化运动中的矛盾冲突与乡村社会的家庭、婚姻等问题紧密结合起来,通过对运动中的乡村社会秩序变化的书写,深刻反映农民心理和行为的转变。赵树理的农民意识和生活真实至上的创作思路,使得他拘囿于一时一地具体的问题,在解决问题的过程中获得对历史的感知,经验色彩浓厚,对事件背后隐藏的“历史必然性”的认识还不够充分。这使得他的写作既无法使矛盾斗争集中化,也不能很好塑造英雄人物的高大形象。 《山乡巨变》从正篇到续篇则以革命干部的眼光审视乡村世界的变化,由“上”更多还原

【Abstract】 The thesis gives some cases analysis on the writing and criticism about the rural novels in 1940’s~1960’s, attempting to discuss the forming process of the narrative criterion about the Chinese contemporary rural novels. Speech at the Forum on Literature and Art at Yanan (1942) by Mao Zedong established literary order in the Liberated Area. After that, writers do their writing in accordance with the literary policy and the writing standard which established by the order. However, it was still an unsolved problem that how to correctly understand the standard and perform it appropriately. It must have a gradually process to achieve finally, and there comes some deviation inexpectantly. In this process, the literary criticism has played an important role to instruct and discipline it. Through criticizing by the commenters step by step, the right standard was to carry out specifically in writing. Then writers learned gradually how to express the main theme appropriately. Finally, the classical shape of the Chinese rural novels was established, and it means that the literary writing was put in the politics order thoroughly.It is the two novels, The Sun shines on the Sanggan River and The Storm that initiated a new writing pattern which serves for the revolutionary struggle leading by the Chinese Communist Party. The writers, Dingling and Zhou Libo, wrote their stories following the guiding literary policy and the writing standard. However, the works also divulge some message that there is some fissure between the village society’s reality and the Party’s policies. In addition, the hardship that the party mobilizes peasantry to take part in revolution represents the passive position of the peasants.Could not Walk That Road continues rural narrative model of the liberated area. It profoundly grasped the contradiction between the peasants’ private mentality and the collectivism path, which the Party had to impel. Upon that, the work makes reforming peasants’ private mentality as a key subject. The author and commenters misstate the conflict between peasants’ material desire and the socialism thought, and explains it as two paths struggle between the capitalism and the socialism. That opened a new, stable but lasting subject in the rural novels.Three Miles Bay expands the theme of Could not Walk That Road, which describesthe conflicts and contradictions of the Cooperatives Movement in the rural community. Through exhibiting the changes of the rural society orders, it reflects the profound psychological and behavior changes of the peasants. Zhao Shuli has a strong interest in describing real rural life, which netted him a limited style to write rural stories, can’t understand historical inevitability in his novels. This makes his writing neither furious conflicts and struggle nor the great image of heroes.The Enormous Change of Country organizes the story from the eyes of a revolutionary cadre which come from other place. The novel tries to unfold the process of the Cooperative Movement by describing the changes of the various characters and the families. However, outsiders’ perspective and depicting scenes of daily life make the conflicts and contradictions of opposing class be not enough severity and the heros be not enough ideal.The History of Pioneering aims to figure a peasant hero of new nature. It is the hero who works as a bridge that melt the gap between the historical rationality of taking the socialistic road and peasants’ private will. The successful image of Liang Shengbao calls up effectively the new subject of the peasant, make the images of them change from passive objects into positive historical actors. Through that, the Party’s will and the wishes of the peasants about how to achieve the good society are combined together. However, there is some difference about how to shape the heroic image, such as the mental action and behavior. Moreover, the new peasant was also possessing some nature of the old one.The narrative model of class struggle in The Bright Day and The Golden Road is perfect. The heros, Xiao Changchun and Gao Daquan are no longer heroic images of peasants, but professional revolutionists. Every space of the peasants’ daily life has become the battlefield of class struggle. Since then, the horizons of the writers and commenters fully coincide, so literature are directly changed into replicas of policy.更多还原