文學編輯家秦兆陽研究
發(fā)布時間：2018-09-10 15:56
【摘要】：在《人民文學》(1949-1957)和《當代》(1979-1994)從事編輯工作達20余年的編輯家秦兆陽是當代文學史研究不可跨越的典型個案。從作為編輯家、作家和文學批評家的身份角色和個體命運出發(fā),將其置于社會文化發(fā)展的整體脈絡之中,考量文學發(fā)展中編輯角色的創(chuàng)造性作用,分析編輯活動對文學生態(tài)優(yōu)化與文學秩序維護的特有功能,能揭示出中國當代文壇在其政治、文化環(huán)境下的“話語場”：其中包含著文學與政治、主流意識形態(tài)與“創(chuàng)作異類”、編輯行為的文學干預與社會政治的文學控制等各方面的復雜關系,透現(xiàn)諸多復雜的文化信息；對探尋編輯活動在組織與引導文學生產(chǎn),調(diào)控與把握文學消費,發(fā)現(xiàn)文學新生力量,開發(fā)文學可能性并實現(xiàn)其現(xiàn)實性轉(zhuǎn)化等方面作用的新視域,尋求編輯主體、編輯活動和文學發(fā)展規(guī)律之間的相互關系,從另一角度思考特定時期的文學發(fā)展規(guī)律,具有重要意義。 秦兆陽具有傳統(tǒng)知識分子的個性氣質(zhì),更具有文學編輯家的啟蒙精神。他本真自我的真實展現(xiàn)、自由精神的個性彰顯、民間立場的合理表達,構建的編輯主體精神,無不書寫了一個主體意識鮮明且個性豐滿的文學編輯家形象。但秦兆陽的身份悖論顯而易見,作為交織于傳統(tǒng)與現(xiàn)代、政治規(guī)約與藝術自律之間的知識分子,其個體文化人格不可能不遭遇某種程度的分裂。秦兆陽的文學編輯生涯,為社會文化規(guī)約與文學藝術性之間的博弈,作出了生動的詮釋。 秦兆陽身份的矛盾和痛苦是深層次的、隱在的。在社會的狂飆突進和政治的風暴面前,在歷史的榮光與色彩面前,秦兆陽始終忠于自己的信仰,他歌頌生活,也直面尷尬,追求人民愿望和歷史真實的表達,通過現(xiàn)實性、戰(zhàn)斗性、開放性的現(xiàn)實主義理論和辦刊追求,塑造了期刊的編輯理性。這種理性意識,是文化力量對秦兆陽身份的塑造。秦兆陽編輯身份的認同過程,正是在個體與政治激情和時代幻象的博弈之中,即在作家、編輯家和文學批評家三重角色的互動、整合的過程中形成的,是其文化人格的一種綜合、復雜的表現(xiàn)形式。 編輯所需的文化精神凸顯了時代文學的美學走向。秦兆陽始終強調(diào)多樣性的文學形式,鼓勵多元的藝術風格,突出作品的實際生活意義。通過在《人民文學》期間充滿先鋒和啟蒙意味的探索與嘗試,在《當代》期間的充滿反思和沉重感的整合與開拓,秦兆陽延續(xù)了他的現(xiàn)實主義主張,并在其中深深烙上了其文化人格的色彩,當時代沉浮、個體歷練兩相疊加,所有的寵辱都漸行消退之后,秦兆陽的沉靜、厚重及其處理政治與藝術關系過程中的中庸,與扛著改革開放大旗闊步前進的社會現(xiàn)狀兩相輝映,構建了一幅平衡傳統(tǒng)與現(xiàn)代、厚重感與新鮮感的文化坐標,書寫個人,暢想未來,更傾情家國,傳承歷史,順應時代,樸素自然,真實感人。 秦兆陽具有鮮明的作者觀。秦兆陽清楚地表明了其面對文化場域的不同規(guī)范與要求時和作者的相處方式：一是編輯和作者具有某個文化場域的共識,但卻不得不接受文化場域某個方面的規(guī)約,這以秦兆陽編發(fā)《我們夫婦之間》、《組織部新來的青年人》等受到批判和被流放為代表；二是編輯和作者有著深度共鳴,外在力量成為傳播和增加文化場域新質(zhì)的推動力,當以秦兆陽編發(fā)《芙蓉鎮(zhèn)》為代表；三是編輯和作者暫時未能取得共識,社會、文化場域與編輯主體的精神文化追求出現(xiàn)裂縫,這當以秦兆陽錯失《九月寓言》為代表。受到社會文化場域的干擾,秦兆陽有堅持自己藝術理想、與作者共進退的勇氣；當編輯和作者對文化場域理解產(chǎn)生分歧時,秦兆陽選擇了自己作為編輯主體的價值判斷與文化精神,堅守自己的文學主張。作為一個敢于擔當社會場域和文化場域責任和使命感的編輯,秦兆陽只能在讓渡自己部分主體性的同時,也讓渡一部分作者的主體性,以達到在文化場域內(nèi)編輯和作者的共同認可。在一定程度上,他選擇了主體功能的退讓,以獲取文化和社會場域慣性的認可。從另外一個角度來說,這又是他獲得主體性不得不選擇的途徑。 編輯與讀者的關系是文學生態(tài)的一種隱匿層面。秦兆陽在辦刊過程中,通過文學選擇、編輯議程設置、讀者期待視野的滿足、讀者需求的適應與提升等途徑,不斷開拓讀者的閱讀空間,從而實現(xiàn)文學期刊的傳播功能,優(yōu)化文學生產(chǎn)機制。讀者的參與,使文學傳播納入顯在的“作者一編輯—讀者”和隱在的“讀者—編輯—作者”的雙向的循環(huán)體系之中。秦兆陽讀者觀實現(xiàn)的具體路徑是：在《人民文學》時期,將“創(chuàng)作談”、“編者的話”與文學批評文章靈活安排,吸引讀者參與傳播過程；在《當代》時期,則讓讀者參與到刊物評論與作品評獎之中。在處理編輯與讀者“間距”時,秦兆陽的選擇是清晰的：不超越現(xiàn)實主義的邊界(既不教條主義,也不逾越到現(xiàn)代主義),也不跨越社會文化規(guī)范的尺度。如此,讀者、編輯和作者,便能圍繞文學的某個意義中心點,在社會文化場域里發(fā)現(xiàn)自我,理解他人,書寫現(xiàn)實,品味歷史。 秦兆陽的文學編輯生涯呈現(xiàn)為創(chuàng)作、理論和編輯3種不同的話語形態(tài)：即生活和文學創(chuàng)作實踐中的藝術審美話語追求；理論升華和文學批評實踐中的知識主體話語表達；文學傳播和期刊編輯實踐中的深層權力話語的言說。這分別影響了編輯主體及編輯行為之“美”、編輯主體及編輯行為之“真”、編輯主體及編輯行為之“善”。3種不同的話語形態(tài),是秦兆陽編輯生涯中文化追求、編輯人生的話語方式,亦是當代文學史中不可回避的話題。秦兆陽在時代狂瀾中盡力有效地實現(xiàn)文學的社會傳播功能,塑造了一座可供自我檢視的精神雕像。 秦兆陽的命運沉浮折射出了編輯主體精神的意義與編輯主體角色的“風險”,彰顯出編輯正義對于文學發(fā)展舉足輕重的意義�；蝽旓L逆鱗發(fā)表《現(xiàn)實主義——廣闊的道路》,或忠于藝術理想,發(fā)表“干預生活”的作品,或不愿意參加黨內(nèi)鳴放會……他以自己的編輯人生說明,編輯“風險”的存在和編輯正義的選擇,是優(yōu)化文學發(fā)展的必然路徑。秦兆陽以堅定的編輯角色定位,在文化、消費、技術的新的時代氣息面前,堅守現(xiàn)實主義文學傳統(tǒng),培育新生作家群體,弘揚期刊文化特色,書寫了一段當代文學史上的佳話。
[Abstract]:Qin Zhaoyang, an editor in People's Literature (1949-1957) and Contemporary Literature (1979-1994) who has been engaged in editing for more than 20 years, is a typical case in the study of contemporary literary history. The creative role of editors in the exhibition and the special function of editorial activities in the optimization of literary ecology and the maintenance of literary order can reveal the "discourse field" of contemporary Chinese literary circles in their political and cultural environment, which includes literature and politics, mainstream ideology and "creative heterogeneity", literary intervention of editorial behavior and society. The complex relationship of political literary control and other aspects reveals a lot of complex cultural information; the new horizon of exploring the role of editorial activities in organizing and guiding literary production, regulating and grasping literary consumption, discovering new literary forces, exploiting literary possibilities and realizing their transformation into reality, seeks editorial subjects and editorial activities It is of great significance to consider the law of literary development in a particular period from another angle.
Qin Zhaoyang has the individuality temperament of traditional intellectuals and the enlightenment spirit of literary editors.His true self-expression,the individuality of free spirit,the reasonable expression of folk standpoint and the spirit of editorial subject all write the image of a literary editor with distinct subjective consciousness and full personality. The paradox of identity is obvious. As intellectuals interwoven with tradition and modernity, political conventions and artistic self-discipline, their individual cultural personality can not be separated to some extent.
The contradiction and pain of Qin Zhaoyang's identity are deep-seated and hidden. In the face of the social turbulence and political storm, in the face of the glory and color of history, Qin Zhaoyang has always been faithful to his beliefs. He praises life, but also faces embarrassment, pursuing the people's wishes and the true expression of history, through the reality, combat, open reality. The rationality of editors of periodicals is shaped by the theory of doctrine and the pursuit of running periodicals. This rationality is the shaping of the identity of Qin Zhaoyang by cultural forces. It is a complex and complex form of its cultural personality.
The cultural spirit needed by the editor highlights the aesthetic trend of the literature of the times. Qin Zhaoyang always emphasizes the diversified literary forms, encourages the diversified artistic styles, and stresses the practical significance of the works in life. In harmony and pioneering, Qin Zhaoyang continued his realistic proposition and branded his cultural personality deeply in it. After the ups and downs of the times and the superposition of individual experience, all the favors and humiliations gradually faded away, Qin Zhaoyang's calmness, gravity and the moderation in the process of dealing with political and artistic relations were striding forward with the banner of reform and opening up. The present social situation is a reflection of each other, constructing a cultural coordinate that balances tradition and modernity, a sense of depth and freshness, writing individuals, imagining the future, and loving the country, inheriting history, conforming to the times, simple and natural, realistic and moving.
Qin Zhaoyang has a distinct view of the author.Qin Zhaoyang clearly shows the way in which he and the author are in harmony when confronted with different norms and requirements of the cultural field. Newcomers such as the Youth are criticized and exiled as representatives; second, editors and writers have a deep resonance, and external forces have become the driving force to spread and increase the new quality of cultural fields, which should be represented by Qin Zhaoyang's editing and distributing Furong Town; third, editors and writers have not yet reached a consensus on the spirit of social, cultural fields and editorial subjects. Qin Zhaoyang has the courage to insist on his own artistic ideal and retreat with the author. When the editor and the author have different understandings of the cultural field, Qin Zhaoyang chooses himself as the editor's value judgment and cultural spirit. As an editor who dares to shoulder the responsibility and mission of social and cultural fields, Qin Zhaoyang can only transfer part of his own subjectivity, but also part of the author's subjectivity, in order to achieve the common recognition of the editor and the author in the cultural field. To a certain extent, he chose the subject merit. In other words, this is the way he has to choose to gain subjectivity.
The relationship between the editor and the reader is a hidden aspect of the literary ecology.Qin Zhaoyang, in the course of running a periodical, has constantly opened up the reader's reading space by means of literary choice, editorial agenda setting, the satisfaction of readers'expectation horizon and the adaptation and promotion of readers' needs, thus realizing the dissemination function of literary periodicals and optimizing the literary production mechanism. Qin Zhaoyang's view of readers is realized through the flexible arrangement of "writing talk", "editor's words" and literary criticism articles in the period of "people's literature" to attract readers. In dealing with the "distance" between editors and readers, Qin Zhaoyang's choice is clear: not beyond the boundaries of realism (neither dogmatism nor modernism), nor beyond the standards of social and cultural norms. Editors and writers can discover themselves, understand others, write reality and taste history in the social and cultural field around a certain point of literary significance.
Qin Zhaoyang's career as a literary editor takes on three different discourse forms: the pursuit of artistic aesthetic discourse in life and literary creation practice; the expression of knowledge subject discourse in theoretical sublimation and literary criticism practice; the discourse of deep power in literary dissemination and periodical editing practice. Three different discourse forms are the cultural pursuit of Qin Zhaoyang's editorial career, the discourse mode of his editorial life and the unavoidable topic in the history of contemporary literature. It effectively realizes the social communication function of literature, and creates a spiritual statue for self inspection.
The fate of Qin Zhaoyang reflects the significance of the editor's subjective spirit and the "risk" of the editor's subjective role, revealing the significance of editorial justice for the development of literature. Ming Fang Club. He explained with his own editorial life that the existence of editorial "risk" and the choice of editorial justice are the inevitable way to optimize the development of literature. Qin Zhaoyang, with a firm position as an editor, adheres to the realist literary tradition in the face of the new era of culture, consumption and technology, fosters a new group of writers, and promotes the periodical culture. Features, wrote a good story in the history of contemporary literature.
【學位授予單位】：湖南師范大學
【學位級別】：博士
【學位授予年份】：2013
【分類號】：G232;I206.7
[Abstract]:Qin Zhaoyang, an editor in People's Literature (1949-1957) and Contemporary Literature (1979-1994) who has been engaged in editing for more than 20 years, is a typical case in the study of contemporary literary history. The creative role of editors in the exhibition and the special function of editorial activities in the optimization of literary ecology and the maintenance of literary order can reveal the "discourse field" of contemporary Chinese literary circles in their political and cultural environment, which includes literature and politics, mainstream ideology and "creative heterogeneity", literary intervention of editorial behavior and society. The complex relationship of political literary control and other aspects reveals a lot of complex cultural information; the new horizon of exploring the role of editorial activities in organizing and guiding literary production, regulating and grasping literary consumption, discovering new literary forces, exploiting literary possibilities and realizing their transformation into reality, seeks editorial subjects and editorial activities It is of great significance to consider the law of literary development in a particular period from another angle.
Qin Zhaoyang has the individuality temperament of traditional intellectuals and the enlightenment spirit of literary editors.His true self-expression,the individuality of free spirit,the reasonable expression of folk standpoint and the spirit of editorial subject all write the image of a literary editor with distinct subjective consciousness and full personality. The paradox of identity is obvious. As intellectuals interwoven with tradition and modernity, political conventions and artistic self-discipline, their individual cultural personality can not be separated to some extent.
The contradiction and pain of Qin Zhaoyang's identity are deep-seated and hidden. In the face of the social turbulence and political storm, in the face of the glory and color of history, Qin Zhaoyang has always been faithful to his beliefs. He praises life, but also faces embarrassment, pursuing the people's wishes and the true expression of history, through the reality, combat, open reality. The rationality of editors of periodicals is shaped by the theory of doctrine and the pursuit of running periodicals. This rationality is the shaping of the identity of Qin Zhaoyang by cultural forces. It is a complex and complex form of its cultural personality.
The cultural spirit needed by the editor highlights the aesthetic trend of the literature of the times. Qin Zhaoyang always emphasizes the diversified literary forms, encourages the diversified artistic styles, and stresses the practical significance of the works in life. In harmony and pioneering, Qin Zhaoyang continued his realistic proposition and branded his cultural personality deeply in it. After the ups and downs of the times and the superposition of individual experience, all the favors and humiliations gradually faded away, Qin Zhaoyang's calmness, gravity and the moderation in the process of dealing with political and artistic relations were striding forward with the banner of reform and opening up. The present social situation is a reflection of each other, constructing a cultural coordinate that balances tradition and modernity, a sense of depth and freshness, writing individuals, imagining the future, and loving the country, inheriting history, conforming to the times, simple and natural, realistic and moving.
Qin Zhaoyang has a distinct view of the author.Qin Zhaoyang clearly shows the way in which he and the author are in harmony when confronted with different norms and requirements of the cultural field. Newcomers such as the Youth are criticized and exiled as representatives; second, editors and writers have a deep resonance, and external forces have become the driving force to spread and increase the new quality of cultural fields, which should be represented by Qin Zhaoyang's editing and distributing Furong Town; third, editors and writers have not yet reached a consensus on the spirit of social, cultural fields and editorial subjects. Qin Zhaoyang has the courage to insist on his own artistic ideal and retreat with the author. When the editor and the author have different understandings of the cultural field, Qin Zhaoyang chooses himself as the editor's value judgment and cultural spirit. As an editor who dares to shoulder the responsibility and mission of social and cultural fields, Qin Zhaoyang can only transfer part of his own subjectivity, but also part of the author's subjectivity, in order to achieve the common recognition of the editor and the author in the cultural field. To a certain extent, he chose the subject merit. In other words, this is the way he has to choose to gain subjectivity.
The relationship between the editor and the reader is a hidden aspect of the literary ecology.Qin Zhaoyang, in the course of running a periodical, has constantly opened up the reader's reading space by means of literary choice, editorial agenda setting, the satisfaction of readers'expectation horizon and the adaptation and promotion of readers' needs, thus realizing the dissemination function of literary periodicals and optimizing the literary production mechanism. Qin Zhaoyang's view of readers is realized through the flexible arrangement of "writing talk", "editor's words" and literary criticism articles in the period of "people's literature" to attract readers. In dealing with the "distance" between editors and readers, Qin Zhaoyang's choice is clear: not beyond the boundaries of realism (neither dogmatism nor modernism), nor beyond the standards of social and cultural norms. Editors and writers can discover themselves, understand others, write reality and taste history in the social and cultural field around a certain point of literary significance.
Qin Zhaoyang's career as a literary editor takes on three different discourse forms: the pursuit of artistic aesthetic discourse in life and literary creation practice; the expression of knowledge subject discourse in theoretical sublimation and literary criticism practice; the discourse of deep power in literary dissemination and periodical editing practice. Three different discourse forms are the cultural pursuit of Qin Zhaoyang's editorial career, the discourse mode of his editorial life and the unavoidable topic in the history of contemporary literature. It effectively realizes the social communication function of literature, and creates a spiritual statue for self inspection.
The fate of Qin Zhaoyang reflects the significance of the editor's subjective spirit and the "risk" of the editor's subjective role, revealing the significance of editorial justice for the development of literature. Ming Fang Club. He explained with his own editorial life that the existence of editorial "risk" and the choice of editorial justice are the inevitable way to optimize the development of literature. Qin Zhaoyang, with a firm position as an editor, adheres to the realist literary tradition in the face of the new era of culture, consumption and technology, fosters a new group of writers, and promotes the periodical culture. Features, wrote a good story in the history of contemporary literature.
【學位授予單位】：湖南師范大學
【學位級別】：博士
【學位授予年份】：2013
【分類號】：G232;I206.7
【參考文獻】
相關期刊論文 前10條
1 陳世旭;遲到的悼念——懷念秦兆陽老師[J];中國編輯;2005年01期
2 何啟治;;“休云編者癡,我識其中味!”——秦兆陽談文學編輯工作[J];編輯之友;1986年03期
3 yなば，
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