摘要
"五四"及20年代的现代文学作品,皆以象征或隐喻的方式言说和描写国家与地方乡土形象。作为启蒙主义的代表作,鲁迅的小说以故乡为中心能指符号,具象而隐喻地通过一系列空间物象展示中国形象的否定意义。浪漫主义的创造社诗人郭沫若则通过动物性形象与女性形象隐喻中国形象,这种隐喻的背后和深层是对设计和再造"新中国"的自信。闻一多则亦以社会性与自然性物象、积极和消极的两级对立情感对中国形象予以描绘,内里自有诗人思想的积淀。而受社会进化论与救亡思潮影响的郁达夫与老舍等小说家,也在个人命运与国家命运的交织中,对真实与想象的中国形象予以价值表征。这些国家形象言说和描写的多元性,既反映了"五四"文学思潮和流派的多元性,也反映了对救国救亡、再造中国的不同的思想路径和方向选择,具有文学与思想的双重价值。
The literary works of the express and portray the national and local ative writer of Didacticism in China, has the negative meaning of the China image ＂May 4th era＂ and the 1920s in contemporary Chinese literature tend to image of China in a symbolic or metaphoric manner. Lu Xun, a represent- employed his hometown as the central through signifier symbol and has displayed a series of spatial images in both figurative and metaphoric ways. Guo Moruo, a poet of romanticism from the Creation Society, has expressed the China image by virtue of animate and female images--a display of confidence in the design and recreation of ＂New China＂ behind those metaphors. Wen Yiduo, has described the China image using contrasting sensibility including sociality and naturalism, positive and negative emotions, thus reflecting the accumulation of his thought. Influenced by social evolutionism and the trend of national salvation, Yu Dafu, Lao She and other novelists, have depicted the value expression of real and i- maginative images by mingling both individual and national fate. The diversity of representation and description of national images has not only expressed the diversity of ideological trends and genres in the May 4th era but also reflected the choice of the ideological line and direction in salvaging and recreating China, which is of dual value in literature and ideology.
出处
《海南师范大学学报（社会科学版）》
2014年第5期1-7,共7页
Journal of Hainan Normal University(Social Sciences)
关键词
“五四”
新文学
中国形象
表征
the May 4th era
new literature
the image of China
representation
