摘要
周作人对晚明小品散文的关注经历了由文体借鉴到文学史梳理的转变。前者以1924年的"美文"写作为核心,表征着他对个体精神生活的强调;而后者则集中反映在《中国新文学的源流》中。在史的梳理中,周作人着力勾勒出两种文学力量的对抗——"言志"对于"载道"的反抗,这是"个性"对于"统制"的反抗。借助于这样一种描述,周作人提炼出一种反对文学"道统"控制的思想质素,从而维护了个体自身的独立与价值。由此,周作人以"抒情言志"的文学传统和"文以载道"的主张相对立,其目的就不完全在于文学本身,还牵涉到他对中国文化与现实的批评,以及他对中国现代知识分子的理解。当他觉得中国的思想问题仍然在于道统与八股时,他就愈强调论者的个性自由,反对社会整体利益与个体特殊利益之间的绝然对立。在20世纪30年代中国民族主义情绪高涨的文化背景下,周的这一立场既使他与激进的左翼文学力量保持距离,同时也从正面表明了他的民族主义立场。那是一种既不表现为简单的排外主义,也不表现为文化上的复古主义,而是建立在"思想革命"基础之上的民族主义立场。由此,在周作人的文学史观中,我们读出了与20世纪中国流行的公理世界观迥然不同的文化指向与内涵。
Zhou Zuoren＇ s study on late-Ming essays underwent a transformation from stylistic reference to combing of literary history. The former was centered on poetic prose writing which concerned the importance of individual spiritual life, while the latter was highlighted in his work, The Source of Chinese New Literature. In combing the history, Zhou focused on the fight between two literary forces ＂expressing aspirations＂ against ＂conveying the Tao＂. It is the resistance of ＂individuality＂ against ＂supreme control＂. With regard to this, Zhou extracted an ideological element to oppose the control of Confucian orthodoxy, safegarding the independence and value of one＇s individuality. Thus, seeing the literary tradtion of ＂expressing aspirations and feelings＂ as an opposite to the proposition of ＂conveying the Tao in articles＂, Zhou＇s aim was not only targeted to literature itself, but also to his criticism on Chinese culture and reality. In addition, it also reflected his understanding of Chinese modern intellectuals.
出处
《学术月刊》
CSSCI
北大核心
2012年第11期119-126,共8页
Academic Monthly
基金
杭州师范大学勤慎研究项目资助
关键词
周作人
小品文
美文
思想革命
Zhou Zuoren, essay, poetic prose, ideological revolution
