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“西方现代派”与中国“现代派”文学的关系问题一直是当代文学界的研究热点,以往多借助比较文学的方法探讨前者对后者的影响以及二者的差异。本文拟转换设问的方向,将1980年代“西方现代派”知识的生产过程作为研究对象,通过对袁可嘉定义“西方现代派”方式及其内在逻辑的考察,提出作为1980年代中国文坛重要资源的“西方现代派”不能完全等同于Modernism,其知识形态(历史分期、思想特征和艺术观点)需要放置在“文革”后的具体语境中才能得到更清晰的理解;这一清理为进一步认识“西方现代派”与“新时期文学”之间的复杂关系提供了可能。
The relationship between Western Modernism and Chinese Modernism has always been a hot spot in contemporary literary circles. In the past, the influence of the former on the latter and the differences between the two were discussed by means of comparative literature. This paper intends to change the orientation of the question, taking the production process of knowledge of Western Modernism in the 1980s as the research object. By examining Yuan Kejia’s definition of “Western Modernism” and its inherent logic, The “Western Modernism”, an important resource of the literary world, can not be completely equated with Modernism. Its knowledge form (historical staging, ideological features and artistic viewpoints) needs to be placed in the specific context after the “Cultural Revolution” for a clearer understanding This clean-up provides the possibility of further understanding of the complex relationship between “Western Modernism” and “New Age Literature.”