本文關(guān)鍵詞：中國(guó)新時(shí)期法制小說(shuō)研究，由筆耕文化傳播整理發(fā)布。

中國(guó)新時(shí)期法制小說(shuō)研究

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摘要

中國(guó)新時(shí)期法制小說(shuō)是指以直接或間接法制敘事為視域的小說(shuō)，包括“大墻小說(shuō)”、公安小說(shuō)、反腐小說(shuō)和涉法小說(shuō)四大板塊。新時(shí)期法制小說(shuō)在傳承我國(guó)古代公案小說(shuō)、近代偵探小說(shuō)及當(dāng)代法制小說(shuō)，借鑒國(guó)外偵探、驚險(xiǎn)小說(shuō)的基礎(chǔ)上，經(jīng)過(guò)政治敘事、英雄敘事和多元化敘事三個(gè)發(fā)展階段，形成自己鮮明的敘事特征，開(kāi)創(chuàng)了繁榮的寫(xiě)作局面。相對(duì)于小說(shuō)寫(xiě)作，學(xué)術(shù)界和評(píng)論界對(duì)其研究則相對(duì)薄弱，除了近幾年的反腐小說(shuō)研究文章較多之外，對(duì)其它板塊的研究還很不夠，更缺乏系統(tǒng)的、整體的、宏觀(guān)的剖析和研究，成果十分欠缺。
     基于上述狀況，本文意圖通過(guò)相對(duì)系統(tǒng)的研究和闡釋?zhuān)瑢?shí)現(xiàn)兩個(gè)目標(biāo)：一是厘清它們的整體面貌與特質(zhì)，包括其發(fā)生與演變、共性主題和特征、敘事策略得失、寫(xiě)作現(xiàn)狀與走勢(shì)等；二是定位它們?cè)谛聲r(shí)期和當(dāng)代文學(xué)語(yǔ)境中不可替代的地位與價(jià)值，闡述其特有的文學(xué)意義，提出對(duì)當(dāng)代文學(xué)寫(xiě)作的啟示，從而呼喚學(xué)術(shù)界對(duì)法制小說(shuō)研究給予應(yīng)有的關(guān)注。
     為此，本文采取的切入點(diǎn)和創(chuàng)新之處主要有四個(gè)方面：一是，整體性。在以往的零碎篇章和個(gè)別論著里，法制小說(shuō)事實(shí)上等同于公安小說(shuō)的概念，局限于刑偵破案為主要敘事內(nèi)容，這無(wú)法囊括新時(shí)期多個(gè)不同的寫(xiě)作板塊和眾多的敘事現(xiàn)象，無(wú)法從整體上總結(jié)其特征，發(fā)現(xiàn)寫(xiě)作的規(guī)律性和成敗得失。我們將不同時(shí)期的各類(lèi)法制小說(shuō)寫(xiě)作進(jìn)行梳理、歸類(lèi)，并且統(tǒng)一到法制小說(shuō)的大范疇之中，對(duì)其做出整體的觀(guān)照和分析，從宏觀(guān)上能夠把握其面貌。二是，文本性�，F(xiàn)有為數(shù)不多的法制小說(shuō)研究成果，往往局限于比較僵硬機(jī)械的政治標(biāo)準(zhǔn)、階級(jí)分析和社會(huì)批評(píng)，以及比較老套的內(nèi)容與形式要素分析，缺乏時(shí)代性和文學(xué)性研究。我們?cè)噲D從文學(xué)性的角度，分析新時(shí)期法制小說(shuō)的共同特征和得失，包括對(duì)其主題意蘊(yùn)方面表現(xiàn)出的共同價(jià)值取向的探討，包括了對(duì)其自覺(jué)的宏大敘事路線(xiàn)選擇的分析。通過(guò)這種分析，一方面，使我們明了在當(dāng)代邊緣化和私人化敘事盛行的潮流下，法制小說(shuō)宏大敘事的優(yōu)勢(shì)和可貴；另一方面，也清楚法制小說(shuō)在純文學(xué)性書(shū)寫(xiě)上的不足，提示今后的法制小說(shuō)寫(xiě)作能夠揚(yáng)長(zhǎng)避短。三是，比較性。將新時(shí)期法制小說(shuō)置于近代以來(lái)中國(guó)整個(gè)現(xiàn)代化進(jìn)程的起伏波折中，來(lái)觀(guān)察它對(duì)文學(xué)歷史使命、啟蒙主義精神的堅(jiān)守；將它置于20世紀(jì)中西文化碰撞與交融的世界文學(xué)語(yǔ)境中，觀(guān)照新時(shí)期法制小說(shuō)對(duì)現(xiàn)實(shí)主義寫(xiě)作靈魂和審美趣味的發(fā)揚(yáng)，從而正確認(rèn)識(shí)和估價(jià)其文學(xué)地位和價(jià)值。四是，啟示性。我們研究的一個(gè)核心落腳點(diǎn)就是通過(guò)全面的描述分析和縱橫向的比較，發(fā)現(xiàn)法制小說(shuō)寫(xiě)作的時(shí)代性、現(xiàn)實(shí)性、啟蒙性等，揭示其重返中心的姿態(tài)，顯示出與當(dāng)代及當(dāng)下寫(xiě)作的差異，從而指出它對(duì)當(dāng)代文學(xué)寫(xiě)作的重要啟示。
     論文共分四章：第一章，主要是對(duì)新時(shí)期法制小說(shuō)的概括性描述。首先在梳理各類(lèi)涉及法制的小說(shuō)名稱(chēng)基礎(chǔ)上，對(duì)法制小說(shuō)的外延和內(nèi)涵加以厘定，從而得出法制小說(shuō)的概念表述。其次是從它對(duì)中國(guó)古代公案小說(shuō)傳統(tǒng)的繼承，對(duì)異域偵探小說(shuō)的借鑒，理清其發(fā)生和形成的脈絡(luò)，并且明了與國(guó)外法制小說(shuō)的差距。第三是對(duì)新時(shí)期法制小說(shuō)進(jìn)行階段劃分，從70年代末、80年代初的政治敘事、80年代中后期的英雄敘事和進(jìn)入20世紀(jì)多元化敘事三個(gè)階段，簡(jiǎn)要分析各個(gè)時(shí)期不同的寫(xiě)作面貌和特征，有利于從發(fā)展的角度來(lái)理解和把握它。第四是在羅列和分析了眾多法制小說(shuō)寫(xiě)作現(xiàn)象之后，根據(jù)其創(chuàng)作傾向的差別，總體上把它分成四大板塊，即反映“文革”時(shí)期勞改監(jiān)獄生活的“大墻小說(shuō)”，以刑偵為主要內(nèi)容的公安小說(shuō)，描寫(xiě)官場(chǎng)和腐敗犯罪的反腐小說(shuō)，以及表現(xiàn)普通人涉法生活的涉法小說(shuō)。
     第二章，主要是分析和提煉了法制小說(shuō)共同的主題傾向。一是通過(guò)政治批判和社會(huì)觀(guān)察與思考，所表現(xiàn)出的憂(yōu)患意識(shí)，包括對(duì)政治生態(tài)的憂(yōu)慮、對(duì)民族命運(yùn)的焦急、對(duì)世態(tài)變化的擔(dān)心、對(duì)民生疾苦的關(guān)懷，體現(xiàn)了寫(xiě)作者鮮明的政治意識(shí)和強(qiáng)烈的責(zé)任感、使命感。二是通過(guò)樹(shù)立和歌頌英雄形象，所表現(xiàn)出來(lái)的英雄情結(jié)，包括了政治英雄、理想英雄和平凡英雄三種形象塑造，體現(xiàn)出作品追求公平正義的價(jià)值取向和懲惡揚(yáng)善的道德示范。三是建立在國(guó)民教育和體制機(jī)制、法制文化反思基礎(chǔ)上的啟蒙精神，包括了價(jià)值引導(dǎo)、道德教化、犯罪警示、文化批判，從而起到教育民眾，弘揚(yáng)法制意識(shí)，加強(qiáng)道德引領(lǐng)的文學(xué)效用。四是建立在革命浪漫主義激情和高尚精神追求基礎(chǔ)上的理想元素，包括了作品中凸顯出來(lái)的理想信念，彰顯出的公平正義價(jià)值理念，謳歌的美好人性、人情和愛(ài)情，以及對(duì)美好未來(lái)和法制理想的呼喚與信心。
     第三章，主要是分析和總結(jié)法制小說(shuō)宏大敘事策略和存在的不足。一是歸納和挖掘了法制小說(shuō)宏大敘事的標(biāo)志和內(nèi)在追求，集中體現(xiàn)在較為明顯的傳統(tǒng)寫(xiě)作范式，體現(xiàn)在敘事背景、敘事角度、人物塑造和情節(jié)架構(gòu)等方面。第一，它往往緊貼著宏大的歷史和時(shí)代語(yǔ)境來(lái)敘事，善于突出激烈的各類(lèi)矛盾沖突，表現(xiàn)出現(xiàn)實(shí)生活的強(qiáng)度和張力，同時(shí)通過(guò)運(yùn)用各種宏大意象和營(yíng)造高遠(yuǎn)意境，以及激越凝重的語(yǔ)言風(fēng)格和敘事基調(diào)，形成了鮮明的宏大敘事格局。第二，它往往喜歡采用全知全能的敘事視角，作者始終在場(chǎng)，而且不回避對(duì)敘事的主觀(guān)態(tài)度和評(píng)價(jià)，具有外露、直接的感情傾向，這也是宏大敘事的標(biāo)志之一。第三，它采取了恩格斯所強(qiáng)調(diào)的“典型環(huán)境中的典型人物”手法，注重在復(fù)雜、真實(shí)的社會(huì)環(huán)境中去刻畫(huà)人物，注重?cái)⑹鋈宋锏某砷L(zhǎng)歷史和性格形成歷史，描寫(xiě)人物性格的多面性和復(fù)雜性，刻畫(huà)人物的內(nèi)心世界和心理活動(dòng)，從而塑造出真實(shí)、立體的人物典型形象。第四，它大多采取了傳統(tǒng)的情節(jié)架構(gòu)模式，善于制造懸念，通過(guò)懸念、情節(jié)突轉(zhuǎn)、懸念破解三個(gè)環(huán)節(jié)的循環(huán)設(shè)置，來(lái)達(dá)到法制小說(shuō)的情節(jié)起伏與激烈效果。二是分析和描述了法制小說(shuō)宏大敘事主流之外的敘事嘗試，包括對(duì)現(xiàn)代主義小說(shuō)寫(xiě)作技巧的借鑒與探索，作為宏大敘事的一種有益補(bǔ)充，如紀(jì)實(shí)性敘事、心理敘事、荒誕敘事、互文敘事、含混敘事等的嘗試與努力，豐富了新時(shí)期法制小說(shuō)面貌。三是指出法制小說(shuō)宏大敘事的缺陷和不足，包括過(guò)度的主觀(guān)介入和寫(xiě)作者的直接評(píng)判過(guò)多，使得小說(shuō)敘事過(guò)于直白、簡(jiǎn)單；對(duì)生活的反映停留在表面化、現(xiàn)象化，對(duì)時(shí)代的本質(zhì)、社會(huì)的內(nèi)在發(fā)展趨向、生活內(nèi)涵和文化底蘊(yùn)等發(fā)掘表現(xiàn)不深入、不渾厚；存在著人物形象概念化、臉譜化、雷同化的傾向，以及情節(jié)結(jié)構(gòu)模式化、定型化的弊端；語(yǔ)言藝術(shù)性不足，直白、大眾化有余，語(yǔ)言張力與藝術(shù)性欠缺；不少的法制小說(shuō)寫(xiě)作還有媚俗化、娛樂(lè)化和消費(fèi)化的傾向等。這些不足，限制了法制小說(shuō)表現(xiàn)生活的力度、厚度和藝術(shù)意味。
     第四章，主要是總結(jié)和歸納了法制小說(shuō)在當(dāng)代文學(xué)史中的地位和價(jià)值，以及給我們寫(xiě)作的啟示。這種價(jià)值，一是放在我國(guó)現(xiàn)代化歷史進(jìn)程中去考察，充分認(rèn)識(shí)到我國(guó)百余年來(lái)斷斷續(xù)續(xù)的現(xiàn)代化進(jìn)程始終沒(méi)有完成，在這種背景下的當(dāng)代文學(xué)不能舍棄自己的社會(huì)功能和責(zé)任擔(dān)當(dāng)，不能放棄啟蒙主義教育的文學(xué)使命。這正是法制小說(shuō)所堅(jiān)持、所遵循的，是符合我國(guó)國(guó)情和廣大受眾需要的選擇。二是，放在20世紀(jì)中西文化大碰撞、大交流、大融合的框架下，分析和看待法制小說(shuō)對(duì)民族文學(xué)傳統(tǒng)的繼承和對(duì)現(xiàn)實(shí)主義寫(xiě)作的堅(jiān)守，顯示出它立足現(xiàn)實(shí)社會(huì)、為人生而寫(xiě)作的可貴品質(zhì)。三是，從法制小說(shuō)寫(xiě)作的現(xiàn)實(shí)生活轉(zhuǎn)向和傳統(tǒng)文學(xué)寫(xiě)作的回歸兩個(gè)方面，具體分析它對(duì)啟蒙主義文學(xué)精神的傳承和現(xiàn)實(shí)主義寫(xiě)作的堅(jiān)持。這主要體現(xiàn)在它對(duì)時(shí)代主流和聲音的反映，對(duì)公共話(huà)題和社會(huì)焦點(diǎn)、熱點(diǎn)問(wèn)題的關(guān)注和對(duì)人、人性、人道主義等人類(lèi)終極價(jià)值意義的追求，以及它對(duì)文學(xué)社會(huì)功能的重視，對(duì)中國(guó)作風(fēng)和氣派的傳統(tǒng)審美弘揚(yáng)，表現(xiàn)出法制小說(shuō)在當(dāng)代文壇的特別之處和珍貴之處。
     最后，在前四章的分析與總結(jié)基礎(chǔ)上，提出今后法制小說(shuō)走向經(jīng)典的可能性，以及實(shí)現(xiàn)這一高標(biāo)準(zhǔn)和高目標(biāo)的努力方向，期待能給寫(xiě)作者和研究者以提醒。
Chinese legal fiction in the new era refersto the direct or indirect narrative novels, including prisonnovels (“High Wall novels”), public security novels,anti-corruption novels and law-related novels. Chinese legalfiction in the new era, on the inheritance of ancient Chinesecase-solving novels, modern detective novels and contemporarylegal novels, using detectives and thrillers from abroad forreference, after three stages of development of politicalnarrative, heroic narrative and diverse narrative, form theirown distinct narrative features, creating a thriving writingera. Contrary to fiction writings, academics and critics seldomget in to this area in recent years, other than some researchon the anti-corruption novels, the study on legal fiction inall is still rare, not to speak of systematic, integral andmacro analysis and research.
     Based on the above situation, this thesis intends to achievetwo objectives through the relatively systematic study andinterpretation. The first one is to clarify their overallappearance and characteristics, including the occurrence andevolution, common themes and features, the successes andfailures of narrative strategies and the writing status andtrends. The second is to orientate them in the context of thecontemporary literature and their irreplaceable value in thenew era, to enunciate its unique literary significance and putforward the revelation for the contemporary literature writing,thereby calling for due attention to the academic study of the legal fiction.
     Consequently, this dissertation adopts four innovativeperspectives. What comes first is the perspective of integrity.A survey of the previous publications reveals that the legalfiction is in fact equivalent to the public security novel,which has confined its main narrative content to the criminalinvestigation solving the case, rendering impossible theinclusion of various writing focuses and narrative phenomenain different periods, the summary of its overall features, andthe regularity, gains and losses of writing. By adopting a moregeneral and reasonable approach, in this dissertation, variouskinds of legal fictions of different periods have been reviewed,analyzed, and integrated into a macro concept of legal fiction,thus a whole grasp of legal fiction realized. Furthermore, theperspective of textuality has also been taken into account. Thefew existing studies of legal fiction has often limitedthemselves to the relatively stiff and mechanical analysis ofpolitical criteria, class, social criticism, and thecomparatively old-fashioned analysis of the content and formfactors, lacking the analysis of epochal and literaryapproaches. From a literary point of view, with both anexploration of the common values exhibited in the aspect oftheme implication and an analysis of the conscious choices ofthe grand narrative route in context, the common features andthe pros and cons of the legal fiction of the new era have beenanalyzed in this dissertation.
     Consequently, this dissertation adopts four innovativeperspectives. What comes first is the perspective of integrity.A survey of the previous publications reveals that the legalfiction is in fact equivalent to the public security novel,which has confined its main narrative content to the criminalinvestigation solving the case, rendering impossible the inclusion of various writing focuses and narrative phenomenain different periods, the summary of its overall features, andthe regularity, gains and losses of writing. By adopting a moregeneral and reasonable approach, in this dissertation, variouskinds of legal fictions of different periods have been reviewed,analyzed, and integrated into a macro concept of legal fiction,thus a whole grasp of legal fiction realized. Furthermore, theperspective of textuality has also been taken into account. Thefew existing studies of legal fiction has often limitedthemselves to the relatively stiff and mechanical analysis ofpolitical criteria, class, social criticism, and thecomparatively old-fashioned analysis of the content and formfactors, lacking the analysis of epochal and literaryapproaches. From a literary point of view, with both anexploration of the common values exhibited in the aspect oftheme implication and an analysis of the conscious choices ofthe grand narrative route in context, the common features andthe pros and cons of the legal fiction of the new era have beenanalyzed in this dissertation. Through this analysis, on theone hand, it will make it clear the strength and preciousnessof grand narrative in legal fiction under the current trend ofthe popularity of marginal and individual narrative. On theother hand, it will also make it known the deficiency in thepure literary writing and remind that the future legal fictionwriting can enhance strong points and avoid weaknesses. Thethird is comparability. This paper will put the legal fictionin new era since modern times into the ups and downs of the wholemodernization process, and observe its adherence to theliterary historic mission and the spirit of enlightenment. Thedissertation will set it into the world literary context in the20th century under the collision and blend between Chinese andwestern cultures, and reflect the promotion of the soul ofrealistic writing and aesthetic taste by the legal fiction innew era, and then gain a correct view and evaluation of its literary status and value. The fourth is revelation. The corestarting point of this study is to discover the epochal,realistic and enlightening features of legal fiction writingthrough a complete descriptive analysis and vertical andhorizontal comparison, to reveal its attitude of “returningto the center”, to show its distinction between thecontemporary and current writing, and then to point out itsenlightenment for the contemporary literary writing.
     This thesis is divided into four chapters. The first chaptermainly focuses on the general description of the legal fictionin the new era through three sections. First, the legal fictionis defined on the basis of sorting out various names of legalfictions and determining its extension and intension. And then,the occurrence and course of development comes to the researchfocus. The Chinese legal fiction has a long tradition ofinheriting from ancient Chinese detective novels, detectivestories of exotic reference. Through the above discussion, thegap between Chinese legal fiction and foreign legal fictionwill be clarified. And thirdly, in order to have a overviewabout Chinese legal fiction, the wring situation and writingfeatures of Chinese legal fictions in different stages will beanalyzed briefly. Generally speaking, the development ofChinese legal fictions in new era falls into three stages: thefirst stage from the late1970s to the beginning of1980sfeaturing political narrative, the second stage from the middleof1980s to the end of20th century, featuring heroic narrative,and the third stage started from the beginning of21st century,which the feature of diverse narrative. Finally, Chinese legalfictions come into four classifications, namely,“High Wallnovels” reflecting the life in prison during the CulturalRevolution, the detective stories about criminal investigation,the fictions describing corruption and corrupt officialdomcrime fiction, and the law-related fictions describing the average person’s life relating to law.
     The second chapter centers on the analysis and generalizationof the common theme in legal fictions. First of all, it givesexpression to the writer’s keen political awareness and hisstrong sense of responsibility (and mission) by means of socialinvestigation and political insight, which finds its way in hisdeep concern about the well-being of the nation and the people,and in his fear about the future of the state. And secondly,it represents the value (orientation) of justice andjustification, and the ethics of “glorifying virtue andcensuring vice” with the help of establishing and eulogizingthe image of heroes in novels, including political heroes,ideal heroes and ordinary heroes as well. The third themefocuses on its functions to enhance the legal sense and themorality, on the basis of the reflection on the publicenlightenment and mass education in legal culture, involvingthe value guidance, moral cultivation, and crime prevention andalert. The final theme is to embody its high ideals in pursuitof revolutionary romanticism and lofty moral values reflectedin literary works, such as the high conviction, the value ofjustice, the appreciation of humanity and love, as well as theconfidence in bright future of the rule of law.
     The third chapter aims at analyzing and summarizing the grandnarrative strategies and shortcomings of the legal fiction.First, it sums up and digs into the grand narrative logo andinner pursuit of legal fictions. This aspect embodies in theobvious traditional writing paradigm, narrative context,viewpoint, characterization and plot structure etc. First, itnarrates close to the grand history and context of the times.It is adept in highlighting the types of intense conflicts,showing the intensity and tension of reality. Simultaneously,it forms a grand and striking narrative pattern through the use of grand images, lofty mood, excitedly dignified language styleand narrative fundamental key. Second, it prefers employingomniscient and omnipotent narrative perspective which is oneof the hallmarks of the grand narration. This means that theauthor is always on the spot, and does not evade from subjectiveattitudes and evaluation of the narration, with exposing anddirect emotional tendencies. Third, it adopts the "typicalenvironment, typical character" approach which Marx emphasized.It focuses on portrayal of the characters in complex, realsocial environment. It emphasizes on the history ofcharacters’ development and personality formation. Itdescribes the multi-faceted and complicating aspects ofcharacters. It portrays the inner world and the psychologicalactivities of characters，thus creating a real, tridimensionalimages of characters. Fourthly, traditional plotting model isadopted to create suspense, sharp turn of plot and suspensedecoding. With the three techniques used in a loop, the surgeand fierceness of plot in this kind of fiction can be achieved.Then, apart from the grand mainstream of narrative in legalfiction of China, another kind of narrative attempt is analyzedand expounded, including exploring into and using for referencethe writing technique of modernism fiction which, as abeneficial complement to the grand narrative like documentarynarrative, psychological narrative, absurdity narrative,intertextual narrative and ambiguity narrative, enricheseverything about the legal fiction in the new era of China. Inthe meantime, the flaws and shortcomings of the grand narrativein legal fiction are also pointed out. For example, tooexcessive personal involvement and direct criticism of thewriter which make the narration an over-simplicity andstraightforwardness; the shallow and superficial reflection oflife, the skin-deep and meager exploration into the nature oftimes, the inner developing trend of society, the connotationof life and culture; the conceptualization and identification of the characters, the patternized and modulized structure ofthe plot; lack of artistic feature in the language, lack oflinguistic intensity and over-colloquialism. What is more, nota few legal novels show a trend for flattering the vulgarity,pure entertainment and consuming, etc. These flaws andshortcomings limit the aesthetic flavor, the expanse and vigorof this kind of fiction in reflecting life.
     The fourth chapter mainly focuses on the status and the valueof legal fictions in contemporary literary history as well asthe enlightenment in writing. The value of legal fictions canbe illustrated in three aspects. Firstly, the incompleteChinese modernization process, off and on along the way, makesit unwise to ignore the social functions, responsibilities andthe educational mission of contemporary literature, which isfirmly followed by legal fiction writers, meeting therequirements of both China’s actual conditions and the readers.Secondly, under the circumstances of the great collision,exchange and fusion of Chinese and Western cultures during the20th century, by inheriting the national tradition inliterature and sticking to realistic writing style, legalfictions display their distinctive qualities with theirreal-life based writing style for the sake of recording humanlife. Thirdly, considering the tendency of recording realistichuman life and the revival of the traditional literary writingin legal fictions, a detailed analysis of legal fictions is madeon their inheritance of the enlightenment literature and theirclinging to realism writing style, which is fully embodied intheir reflections on the prevailing thoughts and views, intheir concern for social issues and hot topics, in their pursuitof the ultimate value of human, humanity and humanitarian, intheir emphasis on the social functions of literature, and intheir promotion of Chinese traditional aesthetic style,displaying the unique and precious characteristics of legal fictions in contemporary literature.
     Finally, based on the analysis and summary of the previous fourchapters, the author discusses the possibility that legalfictions can become classics in the future and the efforts thathave to be made to achieve this goal with high standards,looking forward to shed light on the prospect of the legalfiction for its writers and researchers.

引文

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