功利與審美的交光互影：1895-1916中國文論研究
發(fā)布時間：2018-09-05 21:03
【摘要】： 在政治的迫切需要和西學的不斷引進下,自1895年起中國文論發(fā)生巨大變化,從此走上現(xiàn)代意義上的功利與審美之途。而1917年文學革命的發(fā)生,使文論又有了本質(zhì)性的轉(zhuǎn)變。本文的主要宗旨在于結(jié)合歷史變革,對1895-1916年間功利與審美兩種主要文學功用以具有代表性的文論家與流派為結(jié)構(gòu)主線,對這一段時期的文學功用觀的變化作一梳理并對其內(nèi)容作詳細論述,并以文學功用為契入點展現(xiàn)在西方文化強烈撞擊下中國文論發(fā)生了怎樣的變化。 緒論部分首先回顧中國傳統(tǒng)文論中的文學功用觀,在此基礎(chǔ)上探尋文學功用觀在1895年發(fā)生巨變的原因,并從形式、方法、目標、功能四個方面分析文論的各種變化,通過比較和分析得出文學功利性的定義。接著從史的角度對1895-1916年間的功用觀做一簡單勾勒。最后從內(nèi)容、文學觀念、形式三個方面交待論文為何結(jié)束于1916年。第一章對梁啟超的功利性文學功用觀作一論述。梁啟超首先是政治家,其次才是文論家,這種身份決定了其文學思想服務(wù)于政治思想。他的文學功用觀主要通過其小說理論體現(xiàn)。他借鑒西方國家變革的成功經(jīng)驗,大力倡導新小說,視小說為新民的工具,將小說從“小道”提升到“文學之最上乘”的位置。同時,他從接受者角度分析小說的藝術(shù)特征,但最終指向是為了說明小說是最適合開啟民智的文體。故梁啟超的文學功用觀體現(xiàn)為較強的功利性。 第二章探討“小說界革命”影響下小說理論的功利性。重視文學的社會作用是中國文論歷來重視和強調(diào)的,與“文界革命”、“詩界革命”相比,“小說界革命”恰恰是從社會功用入手獲得社會的最廣泛認可,由此具有較強的功利性。綜觀1895-1916年小說期刊的發(fā)刊詞,其宗旨可分為三類:一是承認小說具有巨大的社會功用,是喚醒國民、開通民智的重要工具,二是以為小說具有審美性,是文學傾向于美的一種,三是主張小說有消遣、娛樂的功能。其中大部分期刊都持第一類宗旨,故主要體現(xiàn)為功利性。同時,維新派興起的白話文運動,盡管得到有識之士的響應(yīng),但出現(xiàn)了實踐與理論相脫節(jié)的現(xiàn)象。出于政治目的發(fā)動的白話文運動功利性極強,而它的不徹底性與其政治功利密切相關(guān)。 第三章以林紓的小說理論為主要研究對象。林紓的小說功用觀主要有兩方面,一是希望通過域外小說喚起國民的愛國之心,二是欲借西方文學的經(jīng)驗推動中國文學的發(fā)展。受知識結(jié)構(gòu)的限制,林紓以以中觀西的角度對西方小說作闡釋,在闡釋中又帶有中西比較的成分在內(nèi)。他翻譯的小說影響了一大批年輕作家的成長,但主要受益的是對外國小說形式、風格等,相對忽略了林紓對小說社會功用的初衷�？傮w而言,林紓對小說社會功用的重視和對小說本體的探索都沒有體現(xiàn)現(xiàn)代意義上的功利與審美,他的小說功用觀是對傳統(tǒng)功利與審美的回歸。 第四章的主要內(nèi)容是王國維的審美功用觀。王國維反對將文學視為政治的工具,在扎根于中國傳統(tǒng)文化的土壤中吸收西方近代美學思想,提出了“無用之用”的文學觀,認為文學是沒有功利的,無用并非真正沒有用處,它只是按實用角度講不能直接見效于社會。他的“無用之用”是指“超出乎利用之范圍”的審美功用,是要放棄利害關(guān)系獲得最純粹的快樂。他與蔣智由同年引進西方悲劇理論,但前者注重審美性,后者側(cè)重功利性。他的悲劇觀貫徹的是其“無用之用”思想。從事文學研究時的王國維強烈反對文學為政治服務(wù),堅持文學的獨立性,其“無用之用”是一種文學審美觀。 第五章為革命派的文學功用觀。在文學和人生的關(guān)系問題上,革命派的理解要比維新派的全面客觀,認為文學是社會的反映,它來源于社會但對社會起極大的推動作用。同時,還積極引進西方美學理論來分析中國文學或重視文學本體特征,其主要代表人物是徐念慈、黃人、黃世仲和黃伯耀等。徐念慈主要引進黑格爾美學思想分析小說的審美特性,認為只有符合理想美學、感情美學方為最上乘小說。黃人于1904年編《中國文學史》時就明確指出文學是美的一部分,并在維新派一味視小說為開啟民智的工具的浪潮中,在1907年敢于發(fā)出小說是文學傾向于美的一種的呼喊。黃世仲、黃伯耀兄弟雖沒有借用西方美學解讀中國小說,但他們肯定中國古典小說的成就,并從主題、創(chuàng)作風格、形式等角度對小說的藝術(shù)特征作了詳細的論述�？傊�,革命派承認小說的社會功用,又注重小說的審美性,他們的文學功用觀體現(xiàn)為審美與功利的兼顧。 第六章對國粹派的文學功用觀作一分析。國粹派以“發(fā)明國學,保存國粹”為宗旨以期發(fā)揚國學精神,所以他們的文學功用在對古代文學的整理和挖掘中體現(xiàn)并帶有功利色彩。其在文學領(lǐng)域的代表人物是章太炎、劉師培和金天翮,功用觀各有特色,但他們都注重文學的社會作用并也重視文學的形式、風格等,一旦考慮到現(xiàn)實時就偏向于社會功用。學術(shù)與革命使他們的文學功用觀充滿矛盾性,逡巡于審美與功利之間。 第七章的考察對象為魯迅早期的文學功用觀。魯迅在棄醫(yī)從文之前就注重文學的功用了,從文學的功利性到文學的審美性,在梁啟超、尼采、章太炎等思想的影響下,最終形成了“不用之用”的文學功用觀,其基本要義是文學給予人以情感上的愉悅,在此過程中使人不知不覺地受教育和啟發(fā),最終使人的精神得以改變�！安挥弥谩迸c“無用之用”有本質(zhì)區(qū)別,它集審美與功利于一身,是審美與功利的協(xié)調(diào)。 第八章探討蔡元培早期的美育思想。1916年前為蔡元培美育思想的早期階段。蔡元培繼承中國傳統(tǒng)文化中的致用精神,并汲取康德美學思想中的超功利性與普遍性,于1912年提出了自己的美育思想,以審美的手段實現(xiàn)功利目的。他和王國維都把美育視為審美與功利的統(tǒng)一體,卻存在差異性。他后期的美育思想可以從早期美育思想中找到源頭。最后從社會背景和自身屬性角度對王國維、蔡元培的美育思想進行述評。 結(jié)語從審美與功利角度將1895-1916年中國文論的主要特征概括為廣納西學、重視文學與社會的關(guān)系、小說至上、借助教育啟蒙和關(guān)注人之本身等五方面。
[Abstract]:With the urgent need of politics and the constant introduction of Western learning, great changes have taken place in Chinese literary theory since 1895, and since then it has embarked on the road of utilitarianism and aesthetics in the modern sense. The occurrence of the literary revolution in 1917 has brought about a fundamental change in literary theory. The representative literary theorists and schools with their main literary functions as the main line of the structure, this paper combs out the changes of literary functions in this period and discusses their contents in detail, and shows how the Chinese literary theory has changed under the strong impact of Western culture.
The introduction first reviews the concept of literary function in Chinese traditional literary criticism, and then explores the reasons for the dramatic change of the concept of literary function in 1895. It analyzes the changes of literary theory from four aspects: form, method, goal and function, and then draws the definition of literary utility through comparison and analysis. The first chapter discusses Liang Qichao's utilitarian literary function view. Liang Qichao is first a politician, then a literary critic. This identity determines that his literary thought serves political thought. He borrowed the successful experience of the western countries, advocated the new novel vigorously, regarded the novel as the tool of the new people, promoted the novel from the "path" to the "literary supremacy" position. At the same time, he analyzed the artistic characteristics of the novel from the perspective of the recipient, but ultimately pointed out that the novel is the most appropriate. Liang Qichao's literary function view embodies strong utilitarianism.
The second chapter discusses the utilitarianism of the novel theory under the influence of the "novel revolution". Emphasizing the social role of literature has always been emphasized in Chinese literary theory. Compared with the "literary revolution" and "poetry revolution", the "novel revolution" is the most widely recognized social function, and therefore has a strong utilitarianism. From 1895 to 1916, the purpose of the publications of fiction periodicals can be divided into three categories: first, to admit that fiction has great social function, is an important tool to awaken the people and open up the people's wisdom; second, to think that fiction is aesthetic, is a kind of literature inclined to beauty; third, to advocate that fiction has the function of recreation and entertainment. At the same time, the vernacular movement, which was launched for political purposes, was highly utilitarian, and its incompleteness was closely related to its political utility.
Chapter Three focuses on Lin Shu's novel theory. Lin Shu's view of novel function mainly has two aspects: one is to arouse the patriotism of the people through extraterritorial novels; the other is to promote the development of Chinese literature through the experience of Western literature. His translation of novels has influenced the growth of a large number of young writers, but it mainly benefits from the form and style of foreign novels, and neglects Lin Shu's original intention of social function of novels. Embodying the utilitarian and aesthetic values in the modern sense, his view on the utility of novels is a return to traditional utilitarianism and aesthetics.
The fourth chapter is about Wang Guowei's view of aesthetic function. He and Jiang Zhiyu introduced western tragedy theory in the same year, but the former emphasized aesthetics and the latter emphasized utilitarianism. Wang Guowei, who was engaged in literary research, strongly opposed literature serving politics and insisted on the independence of literature.
The fifth chapter is the view of literary function of the revolutionaries. On the issue of the relationship between literature and life, the revolutionaries have a more comprehensive and objective understanding than the reformists. They believe that literature is the reflection of society, which originates from society but plays a great role in promoting society. At the same time, they also actively introduce western aesthetic theory to analyze Chinese literature or attach importance to the characteristics of literary ontology. Xu Nianci, Huang Shizhong and Huang Boyao are the main representatives of Zheng. Xu Nianci mainly introduces Hegel's aesthetic thought to analyze the aesthetic characteristics of the novel. He thinks that only the ideal aesthetics is accorded with, and the emotional aesthetics is the best novel. Huang Shizhong and Huang Boyao brothers did not borrow western aesthetics to interpret Chinese novels, but they affirmed the achievements of Chinese classical novels and the artistic features of novels from the perspectives of themes, writing styles and forms. In a word, the revolutionaries acknowledge the social function of the novel and pay attention to the aesthetics of the novel. Their view of literary function embodies both aesthetic and utilitarian.
Chapter 6 makes an analysis of the literary function outlook of the Kuomintang School. The aim of the Kuomintang School is to "invent and preserve the quintessence of Chinese culture" in order to carry forward the spirit of Chinese culture. Therefore, their literary function is manifested in the collation and excavation of ancient literature with utilitarian color. They all attach importance to the social function of literature and the form and style of literature. Once they consider the reality, they are inclined to social function.
In the seventh chapter, the object of study is Lu Xun's early literary function view. Lu Xun paid attention to the literary function before he abandoned medicine and became a writer. From the literary utilitarianism to the literary aesthetics, under the influence of Liang Qichao, Nietzsche, Zhang Taiyan and other ideas, he finally formed the literary function view of "unnecessary use". Its basic meaning is that literature gives people feelings. Sensual pleasure, in this process, makes people unconsciously educated and inspired, and ultimately changes people's spirit.
The eighth chapter discusses Cai Yuanpei's early aesthetic education thought.It was the early stage of Cai Yuanpei's aesthetic education thought before 1916.Cai Yuanpei inherited the practical spirit of Chinese traditional culture and absorbed the super-utilitarianism and universality of Kant's aesthetic thought.He and Wang Guowei put forward his own aesthetic education thought in 1912 to realize the utilitarian purpose by aesthetic means. Both regard aesthetic education as the unity of aesthetics and utilitarianism, but there are differences. His later aesthetic education thoughts can be found in the early aesthetic education thoughts. Finally, from the social background and their own attributes, this paper comments on Wang Guowei's and Cai Yuanpei's aesthetic education thoughts.
The conclusion summarizes the main features of Chinese literary criticism from 1895 to 1916 in terms of aesthetics and utilitarianism as five aspects, namely, widening Naxi learning, attaching importance to the relationship between literature and society, putting fiction first, enlightening people by means of education and paying attention to people themselves.
【學位授予單位】：揚州大學
【學位級別】：博士
【學位授予年份】：2007
【分類號】：I206.5
本文編號：2225453
[Abstract]:With the urgent need of politics and the constant introduction of Western learning, great changes have taken place in Chinese literary theory since 1895, and since then it has embarked on the road of utilitarianism and aesthetics in the modern sense. The occurrence of the literary revolution in 1917 has brought about a fundamental change in literary theory. The representative literary theorists and schools with their main literary functions as the main line of the structure, this paper combs out the changes of literary functions in this period and discusses their contents in detail, and shows how the Chinese literary theory has changed under the strong impact of Western culture.
The introduction first reviews the concept of literary function in Chinese traditional literary criticism, and then explores the reasons for the dramatic change of the concept of literary function in 1895. It analyzes the changes of literary theory from four aspects: form, method, goal and function, and then draws the definition of literary utility through comparison and analysis. The first chapter discusses Liang Qichao's utilitarian literary function view. Liang Qichao is first a politician, then a literary critic. This identity determines that his literary thought serves political thought. He borrowed the successful experience of the western countries, advocated the new novel vigorously, regarded the novel as the tool of the new people, promoted the novel from the "path" to the "literary supremacy" position. At the same time, he analyzed the artistic characteristics of the novel from the perspective of the recipient, but ultimately pointed out that the novel is the most appropriate. Liang Qichao's literary function view embodies strong utilitarianism.
The second chapter discusses the utilitarianism of the novel theory under the influence of the "novel revolution". Emphasizing the social role of literature has always been emphasized in Chinese literary theory. Compared with the "literary revolution" and "poetry revolution", the "novel revolution" is the most widely recognized social function, and therefore has a strong utilitarianism. From 1895 to 1916, the purpose of the publications of fiction periodicals can be divided into three categories: first, to admit that fiction has great social function, is an important tool to awaken the people and open up the people's wisdom; second, to think that fiction is aesthetic, is a kind of literature inclined to beauty; third, to advocate that fiction has the function of recreation and entertainment. At the same time, the vernacular movement, which was launched for political purposes, was highly utilitarian, and its incompleteness was closely related to its political utility.
Chapter Three focuses on Lin Shu's novel theory. Lin Shu's view of novel function mainly has two aspects: one is to arouse the patriotism of the people through extraterritorial novels; the other is to promote the development of Chinese literature through the experience of Western literature. His translation of novels has influenced the growth of a large number of young writers, but it mainly benefits from the form and style of foreign novels, and neglects Lin Shu's original intention of social function of novels. Embodying the utilitarian and aesthetic values in the modern sense, his view on the utility of novels is a return to traditional utilitarianism and aesthetics.
The fourth chapter is about Wang Guowei's view of aesthetic function. He and Jiang Zhiyu introduced western tragedy theory in the same year, but the former emphasized aesthetics and the latter emphasized utilitarianism. Wang Guowei, who was engaged in literary research, strongly opposed literature serving politics and insisted on the independence of literature.
The fifth chapter is the view of literary function of the revolutionaries. On the issue of the relationship between literature and life, the revolutionaries have a more comprehensive and objective understanding than the reformists. They believe that literature is the reflection of society, which originates from society but plays a great role in promoting society. At the same time, they also actively introduce western aesthetic theory to analyze Chinese literature or attach importance to the characteristics of literary ontology. Xu Nianci, Huang Shizhong and Huang Boyao are the main representatives of Zheng. Xu Nianci mainly introduces Hegel's aesthetic thought to analyze the aesthetic characteristics of the novel. He thinks that only the ideal aesthetics is accorded with, and the emotional aesthetics is the best novel. Huang Shizhong and Huang Boyao brothers did not borrow western aesthetics to interpret Chinese novels, but they affirmed the achievements of Chinese classical novels and the artistic features of novels from the perspectives of themes, writing styles and forms. In a word, the revolutionaries acknowledge the social function of the novel and pay attention to the aesthetics of the novel. Their view of literary function embodies both aesthetic and utilitarian.
Chapter 6 makes an analysis of the literary function outlook of the Kuomintang School. The aim of the Kuomintang School is to "invent and preserve the quintessence of Chinese culture" in order to carry forward the spirit of Chinese culture. Therefore, their literary function is manifested in the collation and excavation of ancient literature with utilitarian color. They all attach importance to the social function of literature and the form and style of literature. Once they consider the reality, they are inclined to social function.
In the seventh chapter, the object of study is Lu Xun's early literary function view. Lu Xun paid attention to the literary function before he abandoned medicine and became a writer. From the literary utilitarianism to the literary aesthetics, under the influence of Liang Qichao, Nietzsche, Zhang Taiyan and other ideas, he finally formed the literary function view of "unnecessary use". Its basic meaning is that literature gives people feelings. Sensual pleasure, in this process, makes people unconsciously educated and inspired, and ultimately changes people's spirit.
The eighth chapter discusses Cai Yuanpei's early aesthetic education thought.It was the early stage of Cai Yuanpei's aesthetic education thought before 1916.Cai Yuanpei inherited the practical spirit of Chinese traditional culture and absorbed the super-utilitarianism and universality of Kant's aesthetic thought.He and Wang Guowei put forward his own aesthetic education thought in 1912 to realize the utilitarian purpose by aesthetic means. Both regard aesthetic education as the unity of aesthetics and utilitarianism, but there are differences. His later aesthetic education thoughts can be found in the early aesthetic education thoughts. Finally, from the social background and their own attributes, this paper comments on Wang Guowei's and Cai Yuanpei's aesthetic education thoughts.
The conclusion summarizes the main features of Chinese literary criticism from 1895 to 1916 in terms of aesthetics and utilitarianism as five aspects, namely, widening Naxi learning, attaching importance to the relationship between literature and society, putting fiction first, enlightening people by means of education and paying attention to people themselves.
【學位授予單位】：揚州大學
【學位級別】：博士
【學位授予年份】：2007
【分類號】：I206.5
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