本文關(guān)鍵詞：中國災(zāi)難文學(xué)及其流變　出處：《吉林大學(xué)》2016年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 災(zāi)難意識(shí) 災(zāi)難文學(xué) 悲劇 生態(tài) 流變

【摘要】：災(zāi)難文學(xué)在學(xué)界還沒有統(tǒng)一的定義。本文所述的災(zāi)難文學(xué),是把災(zāi)難劃定在自然變遷對(duì)人類生產(chǎn)、生活的影響這一范圍之內(nèi)來進(jìn)行研究的。究其本質(zhì)來說,亦可以稱為“災(zāi)害”文學(xué)。以農(nóng)業(yè)生產(chǎn)為主要模式的中華民族自古就與自然環(huán)境和條件有著千絲萬縷的聯(lián)系。自然變遷對(duì)中華大地上綿延生息的華夏民族生產(chǎn)生活的影響是十分巨大的。這種影響造成中國文學(xué)從遠(yuǎn)古時(shí)期的神話敘事中就已經(jīng)有了對(duì)人與自然之間矛盾的書寫。災(zāi)難文學(xué)來源于災(zāi)難歷史和災(zāi)難意識(shí),植根于中華民族歷史之中的災(zāi)難意識(shí)并不是一成不變的,它伴隨著人類生產(chǎn)力的發(fā)展,以及文化、政治環(huán)境的影響而發(fā)生著相應(yīng)的變化。從神話敘事中兩種截然相反的災(zāi)難意識(shí)——對(duì)自然災(zāi)難的戰(zhàn)無不勝和對(duì)自然抗?fàn)幨〉目謶珠_始,到當(dāng)代文學(xué)中生態(tài)意識(shí)的出現(xiàn),體現(xiàn)在災(zāi)難文學(xué)敘事中的災(zāi)難意識(shí)不斷復(fù)雜的變化。本文將類同的災(zāi)難意識(shí)匯總以便更清晰的對(duì)災(zāi)難文學(xué)作品中所體現(xiàn)出的災(zāi)難意識(shí)進(jìn)行分類。首先是圍繞著人與自然相抗?fàn)幍某晒εc否產(chǎn)生了中華民族最初的災(zāi)難意識(shí)。這種災(zāi)難意識(shí)隨著人類對(duì)自然世界越來越客觀的認(rèn)識(shí),逐漸生成了人類面對(duì)自然災(zāi)難的無奈、恐懼和屈服。而在一些特定的歷史環(huán)境下,主要受政治因素影響,針對(duì)自然災(zāi)難所進(jìn)行的文學(xué)書寫中所體現(xiàn)的災(zāi)難意識(shí),也曾一度出現(xiàn)對(duì)人類可以戰(zhàn)勝自然的樂觀主義,以及極端的“人定勝天”情結(jié)的產(chǎn)生。同時(shí),政治意識(shí)也促成災(zāi)難意識(shí)的變異,在一定歷史時(shí)期中,人類對(duì)自然災(zāi)難的態(tài)度往往夾雜著對(duì)政治的傾向性意識(shí)。災(zāi)難意識(shí)的變異不只局限在政治范疇,隨著人類對(duì)自然有了更客觀的認(rèn)識(shí),現(xiàn)代化帶給人類對(duì)城市化進(jìn)程的恐慌、對(duì)生活壓力的焦慮,也都被傾注在人類的災(zāi)難意識(shí)當(dāng)中。隨著“人類中心主義”的淡化,人類與自然之間達(dá)到了更為平等或平衡的狀態(tài)。于是,在災(zāi)難意識(shí)中也滲入了生態(tài)意識(shí)的萌芽。每個(gè)災(zāi)難意識(shí)的確立,都意味著一個(gè)全新災(zāi)難敘事中心的產(chǎn)生。從遠(yuǎn)古時(shí)期,圍繞人與自然關(guān)系的神話書寫,到先秦至兩漢時(shí)期散文中對(duì)自然認(rèn)識(shí)的深化和詩化,充滿人文色彩的災(zāi)難意識(shí)貫穿于整個(gè)傳統(tǒng)社會(huì)的詩文之中。這種詩文較少圍繞著對(duì)自然界的科學(xué)理解進(jìn)行書寫,而更多的是體現(xiàn)了對(duì)皇權(quán)的擁護(hù)和對(duì)農(nóng)事的關(guān)心。明清小說出現(xiàn)以后,災(zāi)難文學(xué)寫作的敘事中心更趨向于對(duì)自然災(zāi)難完整的描述。進(jìn)入近代以后,隨著人們對(duì)自然和災(zāi)難認(rèn)識(shí)的科學(xué)性的增強(qiáng)和階級(jí)意識(shí)的確立之后,災(zāi)難文學(xué)書寫的敘事中心也變得更加豐富和深刻。本文將這些敘事中心歸結(jié)為三類:第一,以對(duì)自然災(zāi)難下勞苦大眾的同情和對(duì)殘酷現(xiàn)實(shí)社會(huì)的控訴為主要敘事中心。第二,以表達(dá)對(duì)執(zhí)政當(dāng)局的不滿為主要敘事中心。第三,以歌頌革命根據(jù)地政府破除迷信、生產(chǎn)自救,積極帶領(lǐng)當(dāng)?shù)厝罕姺谰茸匀粸?zāi)難為主要敘事中心。隨著新中國的成立,當(dāng)代災(zāi)難文學(xué)書寫在“文革”前與“文革”后形成了兩個(gè)反差較大的敘事中心:一個(gè)是在“文革”前,以擁護(hù)黨的政策為主的敘事中心,這實(shí)則是對(duì)民國時(shí)期革命根據(jù)地的災(zāi)難敘事中心的延續(xù);另一個(gè)是在“文革”后,以喚起民族記憶和個(gè)人意識(shí)為主的災(zāi)難敘事中心。應(yīng)該說,后者是對(duì)中國文學(xué)在災(zāi)難書寫上的彌補(bǔ)。通過對(duì)災(zāi)難文學(xué)書寫中所體現(xiàn)出的災(zāi)難意識(shí)及其敘事中心進(jìn)行梳理,可以發(fā)現(xiàn)中國對(duì)災(zāi)難文學(xué)審美維度的構(gòu)建,也是明晰災(zāi)難文學(xué)中所應(yīng)體現(xiàn)什么樣的災(zāi)難意識(shí)、又該圍繞什么樣的敘事中心來展開等問題的最佳途徑。本文認(rèn)為災(zāi)難的文學(xué)化應(yīng)具備四種審美特質(zhì):首先,災(zāi)難帶給人類最直接的反應(yīng)就是恐懼,災(zāi)難意識(shí)正是產(chǎn)生這種恐懼之美中;其次,人與自然相對(duì)抗所產(chǎn)生了悲劇之美;再次,在悲劇產(chǎn)生之時(shí),人在對(duì)抗自然之力所顯示出的偉大創(chuàng)舉又具有了崇高之美;最后,在災(zāi)難過后,人類對(duì)自己家園的重建又顯示出了回鄉(xiāng)之美。悲劇之美是這四者中的重中之重,并且在其它三重審美意識(shí)中也都會(huì)對(duì)悲劇意識(shí)有所體現(xiàn)。中國災(zāi)難文學(xué)在對(duì)悲劇意識(shí)的展現(xiàn)中與起源于西方文學(xué)中的宗教性悲劇是不同的。通過對(duì)比可以看出,中國災(zāi)難文學(xué)的書寫對(duì)審美維度的構(gòu)建應(yīng)至少基于以下五個(gè)特點(diǎn):1、要重視對(duì)悲劇意識(shí)的體現(xiàn);2、要在災(zāi)難文學(xué)書寫中樹立起災(zāi)難意識(shí);3、要重視生命,展現(xiàn)出對(duì)生命意識(shí)的關(guān)注;4、要勇敢面對(duì)自然災(zāi)難的殘酷,要有直面意識(shí);5、要體現(xiàn)出災(zāi)難文學(xué)撫慰人類災(zāi)后心靈的療傷作用。任何未來對(duì)策和預(yù)判都往往是蒼白無力的。對(duì)災(zāi)難文學(xué)未來寫作走向的預(yù)判也同樣如此。但作為一種與人類和民族生活、生命休戚相關(guān)的當(dāng)代文學(xué)敘事,又必須對(duì)中國當(dāng)代災(zāi)難文學(xué)的走向做出基本的判斷。本文認(rèn)為災(zāi)難文學(xué)未來發(fā)展首先出現(xiàn)的應(yīng)該就是生態(tài)意識(shí)的介入。生態(tài)文學(xué)與災(zāi)難文學(xué)將產(chǎn)生大面積的交集,這對(duì)災(zāi)難文學(xué)自身寫作是一種沖擊也是一種補(bǔ)充,是符合人類世界對(duì)生態(tài)環(huán)境越來越關(guān)注的時(shí)代氛圍的。之后對(duì)自然災(zāi)難進(jìn)行書寫也會(huì)有科幻色彩的介入,這是展示災(zāi)難文學(xué)所具備的生態(tài)意識(shí)最好的一種形式。此外,深度書寫同樣是災(zāi)難文學(xué)急需的書寫形式。它要求當(dāng)代災(zāi)難文學(xué)不能只停留在將民族記憶轉(zhuǎn)化為人文記憶這一層面上,也不能停留在即時(shí)性情感的抒發(fā)和苦難與不幸的描述上。災(zāi)難文學(xué)的書寫需要具有更豐富的審美維度,同時(shí)也應(yīng)該向時(shí)間的縱向和空間的橫向做更多的延伸。災(zāi)難文學(xué)還可能揉入某種“新世紀(jì)福音”式的宗教哲思情懷,在拯救人類于“末日情結(jié)”之中進(jìn)行安撫和疏導(dǎo)。災(zāi)難文學(xué)也要面對(duì)讀圖時(shí)代的沖擊,在展現(xiàn)出文字與圖像相抗衡的自身長處的同時(shí),在形式上也會(huì)更加多樣。
[Abstract]:Disaster literature is no uniform definition in academic circles. The disaster literature, is the natural disaster in the delineation of the change of human production, the influence of life within this range to study. Its essence, also can be called the "disaster" literature. Based on agricultural production mode of the Chinese nation since ancient times, and the natural environment and conditions are inextricably linked. Natural change effect on the interest of the Chinese nation on earth for life and production is very large. The impact of China literature from the mythological narrative in the ancient times has been the contradiction between man and nature. The writing of literature comes from the historical disaster disaster and the disaster consciousness rooted in the history of the Chinese nation in the disaster consciousness is not immutable and frozen, it is accompanied by the development of human productivity and culture, the influence of the political environment and A corresponding change. From the beginning of the two diametrically opposite disaster awareness in the narrative of mythology -- on the natural disaster and the natural struggle invincible fear of failure to appear ecological consciousness in the contemporary literature, reflects the changes in the disaster literature in the narrative of disaster awareness increasingly complex. This paper will summary similar to disaster awareness clearly reflected in the literary works of the disaster disaster awareness are classified. The first is around the human and the nature of struggle and success of the Chinese national consciousness. The initial disaster disaster awareness with the human understanding of the natural world is more and more objective, gradually formed the human face of natural disaster of frustration, fear and yield. In some specific historical circumstances, mainly affected by political factors, reflecting on the natural disaster of literary writing in the disaster consciousness, have a Appears to human can overcome the nature of optimism, and extreme "man can conquer nature" complex. At the same time, the political consciousness also contributed to the variation of disaster awareness, in a certain historical period, the human attitude to natural disasters is often mixed with the tendency of political consciousness. Variation of disaster awareness was not confined to the realm of politics as human beings, have a more objective understanding of the nature, the process of city modernization brings panic, anxiety of life, have been poured into the human disaster consciousness. With "weaken the anthropocentrism", between man and nature to a more equal and balanced state. So, in the disaster consciousness into the seeds of ecological awareness. The establishment of each disaster awareness, means a new disaster narrative center produced. From ancient times, focusing on the relationship between man and nature The myth of writing to the pre Qin to the Han Dynasty prose to deepen the understanding of nature and poetic, humanity and disaster awareness throughout the traditional social poems. This kind of poetry less around on the nature of the scientific understanding of writing, and more is reflected in the support of the imperial power and care for farming. After the Ming and Qing Dynasties novel, narrative writing center disaster literature tends to be more of a complete description of natural disasters. In modern times, with the establishment of awareness of natural disaster and the science of enhancement and class consciousness, the center of disaster literature writing narrative has become more abundant and profound. The narrative centers are classified into three categories. First, in order to sympathizes with the natural disaster and the indictment of the harsh social reality as the main narrative center. Second, in order to express the ruling authorities is not full The main narrative center. Third, to sing the praises of revolution to the production of self-help, superstition, actively lead the local people as the main natural disaster prevention and rescue center. With the establishment of the new narrative China, contemporary disaster literature writing formed two big contrast between the narrative center in the "Cultural Revolution" before and after "Cultural Revolution": one is in the the "Cultural Revolution", in order to support the party's policy of the narrative center, this is actually the continuation of the revolutionary period of the Republic of China according to the disaster narrative center; the other is in the "Cultural Revolution", in order to arouse the national memory and personal consciousness of disaster narrative center. It should be said that the latter is to make up in the Chinese literature on the writing of disaster. Through combing disaster awareness and narrative center reflects the disaster in literary writing, can be found on the construction of disaster literature aesthetic dimension China, is also clear in the disaster literature Should reflect what kind of disaster consciousness, and the best way to focus on what kind of narrative center to expand such problems. The disaster literature should have four aesthetic characteristics: first, disaster brings the most direct response is fear, disaster consciousness is the fear of the United States; secondly, people and the relative resistance generated by the natural beauty of tragedy; again, in a tragedy when people showed great initiative in the fight against the force of nature but also has a lofty beauty; finally, after the disaster, human reconstruction of their homeland and show their beauty. The beauty of tragedy is in the weight of the four, and in the other three aesthetic consciousness will be reflected on the tragedy consciousness. China disaster literature in the tragic consciousness in the show and originated in the western literature and religious tragedy is different. Through the contrast can be seen China, disaster literature writing of the construction of the aesthetic dimension should be based on at least the following five characteristics: 1, attention should be paid to reflect on the tragedy consciousness; 2, to establish disaster awareness in the disaster literature writing; 3, pay attention to life, showing awareness of life concern; 4, to be brave in the face of natural disaster the cruelty to face consciousness; 5, to reflect the disaster literature soothe the human soul after disaster healing. Any future countermeasures and anticipation are often feeble. The disaster literature writing to predict the future is the same. But as a human and national life, contemporary literary narrative life bound together in a common cause that must be China toward contemporary disaster literature make basic judgments. This paper argues that the future development of disaster literature should first appears is the eco conscious intervention. Intersection of ecological literature and literature will have a large area of the disaster, The disaster literature writing is a shock and a supplement, is consistent with the human world more and more attention to the ecological environment of the atmosphere of the times. After the natural disaster of writing will also have a sci-fi intervention, this is a form with ecological consciousness of disaster literature best. In addition, the depth of writing is also in urgent need of disaster literature written form. It requires the contemporary disaster literature can not just stay in the memory of a nation into the cultural memory of this level, can not stay in the instant emotional expression and description of the suffering and misfortune. The disaster literature writing has more abundant aesthetic dimension, should also be to the longitudinal and transverse space and time to do more extension. Disaster literature may also rub into a "new century Gospel" type of religious philosophy in saving human feelings, in the "doomsday complex". In order to comfort and guide, disaster literature should also face the impact of the era of picture reading. It will also show more advantages in form when it shows the strength that words and images are competing against.

【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：I206

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7 張s，

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