本文選題：“世界文學”觀念 + 新時期　； 參考：《遼寧大學》2017年博士論文

【摘要】：本文以“‘世界文學’觀念與新時期作家的創(chuàng)作實踐”為關注對象,考察“世界文學”觀念形成、發(fā)展的內在理路,以晚清至新時期文學為參照,探討新時期語境下,主體的“世界文學”觀念與作家創(chuàng)作實踐的關系,以及“世界文學”觀念影響下的中國文學參與世界的方式和可能。論文主要以作家的“世界文學”觀念作為關鍵詞和核心點,并對其進行文學、美學和文化意義上的多重思考。本文總體思路和重點是將新時期作家的創(chuàng)作實踐作為一個有機聯系的整體進行系統(tǒng)研究。力圖通過“世界文學”這一線索,完成對新時期文學融入世界文學的步伐和節(jié)點的全新梳理,進而探討“世界文學”觀念參與塑造新時期文學的不同面向,尋找促使中國文學真正有效地走向世界進而躋身世界文學主流的多向可能。全文共有七個部分,每個部分主要內容如下:第一章緒論,主要介紹論文的研究緣起、梳理現有的研究成果,研究對象、方法和意義。第二章主要探討“世界文學”的發(fā)現與闡釋�！笆澜缥膶W”作為一個概念自德國作家維蘭德首次使用伊始,赫爾德、歌德、馬克思和恩格斯等相繼進行“世界文學”有關闡述。他們的言說構成“世界文學”本體論探討,也由此展開了世界范圍的對“世界文學”內涵闡釋。同時,借助“世界”范疇在中外視域中的認知流變,從側面展開了“世界文學”的空間性,透露出中國學者在思維結構上的開放性變化。此外,通過對“世界文學”的追問和辨析明確剖析新時期語境下“世界文學”內部多重價值標準�？梢哉f對“世界文學”內涵和外延的探究打開了世界文學理論體系的開放性局面,開拓了民族文學的視域,也由此開啟了文學的嶄新時代。第三章主要對晚清以來中國作家的“世界文學”觀念進行歷時性的梳理和分析。晚清以來中國作家從未停止走向世界的腳步,從清末民初對域外文學的認同與發(fā)現、到現代文學三個十年中鄭振鐸、魯迅、張愛玲等的世界文學接受以及覆蓋整個現代文學階段世界影響下的各個文學社團形成和發(fā)展、1950至1960年代中國文壇總體世界文學傾向的轉向,再到新時期莫言等作家對域外文學的借鑒與超越,在接受與影響中,中國作家走出一條明晰的面向世界的文學觀念演進歷程�？v向地梳理中國文學的發(fā)展脈絡的同時也透過中外雙重視角橫向比較中國文學與域外文學的差異,既體現中國文學的獨特性和創(chuàng)新性,也窺見中國文學的某些不足。第四章對新時期作家多樣化的“世界文學”觀念展開論述。其一是民族自信,將民間文化作為文學表達的資源。在全球化背景下,文化的民族自覺日益高漲。堅守民族立場的新時期作家認為中國特色是文學立足世界的原因,他們將文學作品浸潤在傳統(tǒng)文化中、民族土壤里和地域風俗內,打上深深的民族烙印;其二是文化間性,持此類“世界文學”觀念的作家認為海外語境對中國文學的世界性發(fā)展有著積極的促進作用。與西方作家的交流比較可以看到民族文學的局限,進行異域行旅或海外經歷能夠開闊作家的視野,在民族與“他者”視角交錯之間既獲得了異域文化價值標準也保持了民族文化的必要張力,將多重異質文化融匯有助于創(chuàng)作新奇作品;其三是自由獨語,將“文學”與“世界”相分離,持這類“世界文學”觀念的作家認為文學創(chuàng)作是與諾貝爾文學獎等世界級獎項無關的個人化行為。世界上任何文學自在自為地成為世界文學的一部分,甚至有的作家認為“世界文學”的界定本身即是虛無的;其四是借用“東方主義”視角。新時期作家有關文學中心觀念不同于薩義德提出的“東方主義”,他們認為東西方文學存在差異和差距,他們渴望獲得世界讀者的認可,也看到東西方文學相互理解的難度,對中國文學真正融入世界文學持焦慮的態(tài)度;其五是仿寫和借鑒。透過大量國內外創(chuàng)作實踐,仿寫和借鑒是作品不斷成熟的途徑。新時期作家也以此作為作品超越自我,獲得世界認同的方式。第五章和第六章是對“世界文學”觀念影響下的新時期文學的思想意蘊和藝術形式的世界性進行分析。在思想意蘊方面,首先,新時期作家在尋求中國文學世界性發(fā)展的過程中認識到民族傳統(tǒng)文化、古典文學經典和地域風土氣息的重要價值。其次,新時期作家看到了具有世界性主題表達以引起世界讀者共鳴的意義。其中,對人的全方位的思考和關注是最具人類共通性的話題。最后,缺乏想象的作品是平庸的,新時期作家受中國古典文學和域外經典名作的啟發(fā)在作品中展開對神秘世界的創(chuàng)造性想象。在藝術形式表現方面,新時期作家在創(chuàng)作原則、文體、敘述和修辭方面都進行了世界之方向的創(chuàng)新性嘗試。不僅堅持現實主義和現代主義等相對單一化的創(chuàng)作原則,更接受了域外文化思想影響,對現實主義、現代主義進行多元化的改造。在文體上也進行著自覺的努力,相繼出現日記體、獨語體、對話反思體、書信體等創(chuàng)新性文體。在語言表達上從敘述和修辭角度向世界文學方向進行著不斷的嘗試�？梢哉f,世界語境是中國文學身份覺醒和整體發(fā)展的重要背景。第七章主要剖析“世界文學”觀念的當代價值。“世界文學”觀念給了新時期作家了解世界文學的動力和眼界,讓他們在不斷的參照和對比中形成文學整體觀,將中國文學納入世界文學整體中考量,在兼容并蓄的視野中思考中國文學的發(fā)展;中國文學的發(fā)展離不開世界文學的啟發(fā)和影響,全球化和本土化共同構成的中國文化動脈,在這文化的脈沖中,中國文學獲得源源不斷的藝術資源;同樣,世界文學也離不開中國文學,中國文學的存在為世界文學圖景增添色彩,保持了世界文學生態(tài)多樣性。另外,中國文學的世界性接受能夠更直接和有效地塑造中國形象,文學為世界了解中國提供了更為直觀的渠道,讓世界看到真實的中國。
[Abstract]:This article, based on the concept of "world literature" and the creation practice of writers in the new period, examines the formation of the concept of "world literature" and the internal logic of development. With the reference of the late Qing Dynasty to the new period literature, this paper discusses the relationship between the concept of "world literature" and the writer's creative practice in the context of the new period, as well as the "world literature". The author's concept of "world literature" is the key point and key point of the writer's "world literature", and the author's literary, aesthetic and cultural thoughts are taken into consideration. The general idea and focus of this paper is to take the writer's creative practice in the new period as an organic whole. Through the clue of "world literature", we try to complete the pace and new combing of the new period literature into the world literature, and then discuss the concept of "world literature" to participate in the creation of different aspects of the new period literature, and to seek for the Chinese literature to come to the world and then become the mainstream of the world literature. There are seven parts in the full text. The main contents of each part are as follows: the first chapter is the introduction, which mainly introduces the origin of the research, combs the existing research results, research objects, methods and significance. The second chapter mainly discusses the discovery and interpretation of "world literature". "World literature" is a concept from German writer Wieland first. At the beginning of the use, Herder, Gerd, Marx and Engels expounded the "world literature" in succession. Their statements constituted the ontological discussion of "world literature", and thus opened up a worldwide interpretation of the connotation of "world literature". At the same time, the cognition and rheology of the category of "world" in the foreign field of view was developed from the side. The space nature of "world literature" reveals the opening changes of Chinese scholars in the structure of thinking. In addition, through the inquiry and analysis of "world literature", the internal multiple values of "world literature" in the context of the new period are clearly analyzed. The open situation of the system has opened up the horizon of national literature, and thus opened a new era of literature. The third chapter mainly carding and analyzing the "world literature" concept of Chinese writers since the late Qing Dynasty. Since the late Qing Dynasty, Chinese writers have never stopped moving towards the world, and from the late Qing Dynasty to the early and early days of the Republic of China to the identification of foreign literature. And discover, to the three ten years of modern literature Zheng Zhenduo, Lu Xun, Eileen Chang and other world literature acceptance and the formation and development of various literary societies under the influence of the whole modern literary stage world. From 1950 to 1960s, the general world literature tendency of Chinese literary world turned, and then to the reference of Mo Yan and other writers to foreign literature in the new period. In the course of acceptance and influence, Chinese writers go out of a clear evolution of the literary concept facing the world, carding the development of Chinese literature vertically and comparing the differences between Chinese literature and extraterritorial literature horizontally from both Chinese and foreign perspectives, which not only embodies the uniqueness and innovation of Chinese literature, but also peek into Chinese literature. There are some shortcomings. The fourth chapter discusses the diversified "world literature" concept of the writers in the new period. One is the national self-confidence and the folk culture as the resource of literature. In the context of globalization, the national consciousness of the culture is increasing. The writer of the new period of adhering to the national standpoint has recognized that the Chinese characteristic is the reason that literature is based on the world. They infiltrate the literary works in the traditional culture, the national soil and the regional customs, the deep national brand, and the second is the intercultural nature. The writers holding this concept of "world literature" think that the overseas context has a positive effect on the development of the Chinese literature in the world. The limitations of learning, foreign travel or overseas experience can broaden the field of view of the writer. The interlacing between the national and the "other" has not only acquired the standard of foreign cultural values but also the necessary tension of national culture, and the fusion of multiple cultures helps to create novelty works; third, free solo, "Literature" and "the world" The writer thinks that literary creation is independent of the world class awards such as the Nobel prize for literature. Any literature in the world has become a part of world literature freely and freely, even some writers think that the definition of "world literature" itself is nothing but the fourth is to borrow "East". The concept of literary center in the new period is different from the "Orientalism" proposed by saider in the new period. They believe that there are differences and differences between the East and the West. They are eager to get the recognition of the world readers, the difficulty of the mutual understanding between the East and the west, and the anxiety about the real integration of Chinese literature into the world literature. The fifth is to imitate and draw lessons from. Through a large number of domestic and foreign creative practice, imitating writing and drawing lessons are the ways of the works. The writers of the new period also take this as a way to transcend the self and obtain the world identity. The fifth and the sixth chapters are the ideological connotation and the artistic form of the new time literature under the influence of the concept of "world literature" In the aspect of ideological connotation, first, in the process of seeking the world development of Chinese literature, writers in the new period have recognized the important value of national traditional culture, classical literary classics and the atmosphere of regional wind and soil. Secondly, the writers of the new period have seen the meaning of the world theme to arouse the resonance of the world readers. In the end, the unimaginative works are mediocre. In the new period, the writer is inspired by the classical Chinese literature and the extraterritorial masterpieces to unfold the creative imagination of the mysterious world. In the form of artistic expression, the writers in the new period are writing principles, style, narration, and narration in the new period. The rhetorical aspect has carried out an innovative attempt in the direction of the world. It not only adheres to the relatively unitary creation principles of realism and modernism, but also accepts the influence of extraterritorial culture and ideology, and makes a pluralistic transformation of realism and modernism. In stylistic efforts, there are diaries, solo bodies and dialogues. The seventh chapters mainly dissect the contemporary value of the concept of "world literature". The concept of "world literature" is given. The writers of the new period know the motive force and the horizon of world literature, let them form the whole view of literature in constant reference and contrast, consider Chinese literature into the whole world literature, and think about the development of Chinese literature in an inclusive field of vision; the development of Chinese literature is inseparable from the enlightenment and influence of world literature, globalization and localization. In this cultural pulse, Chinese literature is made up of the Chinese literature. In this cultural pulse, Chinese literature has a steady stream of art resources. Similarly, the world literature can not be separated from Chinese literature. The existence of Chinese literature adds color to the world literature picture and maintains the ecological diversity of the world literature. In addition, the world acceptance of Chinese literature can be more direct and available. Effectively shaping the image of China, literature provides a more intuitive channel for the world to understand China, so that the world can see the real China.

【學位授予單位】：遼寧大學
【學位級別】：博士
【學位授予年份】：2017
【分類號】：I206.7
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本文編號：1860529