西方浪漫主义与五四时期现代自我的生成——以《沉沦》为例
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摘要
西方浪漫主义与中国现代自我的生成密切相关。郁达夫的《沉沦》在一定程度上映射了五四一代基于浪漫主义话语的主体构建模式,对《沉沦》做症候式阅读,可辨析这一主体生成的内在机制及隐含的历史疑难。在展开浪漫主义"自我确立"的意识形态主题后,文本随即显示出自我解构的征兆。主人公以西方浪漫主义话语为资源,将个体确立为具有鲜明主体意识的现代自我,但不同于启蒙传统中具有行动力的理性主体,这一现代自我属于感伤式的主体类型。主人公自我确立以压抑历史力量为代价,但历史之力终究撕破文本光滑的表面,凌空蹈虚的主体建构工程也遭遇溃败。作为郁达夫笔下"零余人"的代表,主人公折射了一代知识分子遭遇的历史疑难,这使得作品富于国族寓言的意味。
Western Romanticism functions as an important shaping force in the making of the modern self during the May Fourth Period. Sinking by Yu Dafu,to a certain extent,mirrors the self-conscious efforts of the generation of young intellectuals who strive for self-assertion and self-definition by appropriating romantic discourses. A symptomatic reading of the text reveals how it defeats its own ideological project. Unlike the free and rational self nurtured by the Enlightenment tradition,the modern self thus fashioned is sentimental,introspective and intensely self-conscious and can only exist by repressing the historical. The protagonist's failed efforts at self-definition shed light on the historical predicament of the group of intellectuals who felt disconnected and disorientated in a time of political turmoil and radical changes. Viewed in this light,the text might be read as an example of what Fredric Jameson calls national allegory.
Western Romanticism functions as an important shaping force in the making of the modern self during the May Fourth Period. Sinking by Yu Dafu,to a certain extent,mirrors the self-conscious efforts of the generation of young intellectuals who strive for self-assertion and self-definition by appropriating romantic discourses. A symptomatic reading of the text reveals how it defeats its own ideological project. Unlike the free and rational self nurtured by the Enlightenment tradition,the modern self thus fashioned is sentimental,introspective and intensely self-conscious and can only exist by repressing the historical. The protagonist's failed efforts at self-definition shed light on the historical predicament of the group of intellectuals who felt disconnected and disorientated in a time of political turmoil and radical changes. Viewed in this light,the text might be read as an example of what Fredric Jameson calls national allegory.
引文
[1]Brodey,I.S.B.On Pre-Romanticism or Sensibility:Defining Ambivalences[A].In Michael Ferber(ed.).A Companion to European Romanticism[C].Malden:Blackwell Publishing Ltd.,2005.10-28.
[2]Breithaupt,F.Romanticism,Individualism and Ideas of the Self[A].In Gregory Claeys(ed.).Encyclopedia of Nineteenth-Century Thought[C].London and New York:Routledge Ltd,2005.554-563.
[3]Charnon,L.D.Voyeurism,Pornography and“La Regenta”[J].Modern Language Studies,1989,19(4):93-101.
[4]Denton,K.A.The Distant Shore:Nationalism in Yu Dafu’s“Sinking”[J].Chinese Literature:Essays,Articles,Reviews,Vol.14(Dec.,1992):107-123.
[5]Eagleton,T.Criticism and Ideology:A Study in Marxist Literary Theory[M].Norfolk:Lowe&Brydone Printers Limited,1976.
[6]Egan,M.Yu Dafu and the Transition to Modern Chinese Literature[A].In Merle Goldman(ed.).Modern Chinese Literature in the May Fourth Era[C].Cambridge:Harvard University Press,1977.309-324.
[7]Jameson,F.Third-World Literature in the Era of Multinational Capitalism[J].Social Text,No.15(Autumn,1986):65-88.
[8]Lacan,J.The Four Fundamental Concepts of Psychoanalysis[M].Trans.Alan Sheridan.New York:W.W.Norton&Company,1998.
[9]Lee,O.L.The Romantic Generation of Modern Chinese Writers[M].Cambridge:Harvard University Press,1973.
[10]Macherey,P.A Theory of Literary Production[M].Trans.Geoffrey Wall.London:Routledge&Kegan Paul,1978.
[11]Rowland,A.W.Sentimental Fiction[A].In Richard Maxwell(ed.).The Cambridge Companion to Fiction in the Romantic Period[C].Cambridge:Cambridge University Press,2008.191-206.
[12]Schneider,H.J.Nature[A].In Marshall Brown(ed.).The Cambridge History of Literary Criticism(Vol.5)[C].Cambridge:Cambridge University Press,2007.92-114.
[13]Taylor,C.Sources of the Self:The Making of Modern Identity[M].Cambridge:Harvard University Press,1989.
[14]陈周旺.从启蒙到革命:中国浪漫主义的嬗变[J].文史哲,2007,(6):81-86.
[15]歌德.歌德文集[M].杨武能等译.北京:人民文学出版社,1997.
[16]冯奇.郭沫若与郁达夫的浪漫世界之比较[J].中国现代文学研究丛刊,1990,(2):170-186.
[17]冯奇.现代性语境中的中国浪漫主义运动[J].文学批评,2001,(1):33-41.
[18]钱理群,温儒敏,吴福辉.中国现代文学三十年[M].北京:北京大学出版社,1998.
[19]亚当·斯密.道德情操论[M].蒋自强等译.北京:商务印书馆,2003.
[20]雁冰.通信(摘录)[A].王自立,陈子善编.郁达夫研究资料(下)[C].天津:天津人民出版社,1982.304.
[21]郁达夫.沉沦[A].郁达夫全集(第一卷)[C].杭州:浙江文艺出版社,1992.39-75.
[22]郁达夫.《沉沦》自序[C].郁达夫全集(第十卷)[C].杭州:浙江文艺出版社,1992.18-19.
[23]郑伯奇.《寒灰集》批评[C].陈子善,王自立编.郁达夫研究资料(下)[C].广州:花城出版社,1985.12-22.
(1)出自《沉沦》的引文后面只在括号内标注页码。
(2)《少年维特的烦恼》是德国狂飙突进运动中的重要作品,也被视为一部典型的感伤小说。歌德在小说中塑造了一位浪漫主义主人公的原型形象,少年维特内心敏感、情感热烈,对自然有着特殊的敏感,与世界和自我格格不入,因无望的爱和厌世情绪而最终自杀。感伤主义是浪漫主义的先声,流行于18世纪后半叶,直接得益于虔敬主义的滋养。虔敬主义为新教路德宗教会中的一派,强调内在生活和自我反省,认为这是抵达神性的真正路径,虔敬主义通过教育和办学等途径有力推动了18世纪感伤文化的兴起。
[2]Breithaupt,F.Romanticism,Individualism and Ideas of the Self[A].In Gregory Claeys(ed.).Encyclopedia of Nineteenth-Century Thought[C].London and New York:Routledge Ltd,2005.554-563.
[3]Charnon,L.D.Voyeurism,Pornography and“La Regenta”[J].Modern Language Studies,1989,19(4):93-101.
[4]Denton,K.A.The Distant Shore:Nationalism in Yu Dafu’s“Sinking”[J].Chinese Literature:Essays,Articles,Reviews,Vol.14(Dec.,1992):107-123.
[5]Eagleton,T.Criticism and Ideology:A Study in Marxist Literary Theory[M].Norfolk:Lowe&Brydone Printers Limited,1976.
[6]Egan,M.Yu Dafu and the Transition to Modern Chinese Literature[A].In Merle Goldman(ed.).Modern Chinese Literature in the May Fourth Era[C].Cambridge:Harvard University Press,1977.309-324.
[7]Jameson,F.Third-World Literature in the Era of Multinational Capitalism[J].Social Text,No.15(Autumn,1986):65-88.
[8]Lacan,J.The Four Fundamental Concepts of Psychoanalysis[M].Trans.Alan Sheridan.New York:W.W.Norton&Company,1998.
[9]Lee,O.L.The Romantic Generation of Modern Chinese Writers[M].Cambridge:Harvard University Press,1973.
[10]Macherey,P.A Theory of Literary Production[M].Trans.Geoffrey Wall.London:Routledge&Kegan Paul,1978.
[11]Rowland,A.W.Sentimental Fiction[A].In Richard Maxwell(ed.).The Cambridge Companion to Fiction in the Romantic Period[C].Cambridge:Cambridge University Press,2008.191-206.
[12]Schneider,H.J.Nature[A].In Marshall Brown(ed.).The Cambridge History of Literary Criticism(Vol.5)[C].Cambridge:Cambridge University Press,2007.92-114.
[13]Taylor,C.Sources of the Self:The Making of Modern Identity[M].Cambridge:Harvard University Press,1989.
[14]陈周旺.从启蒙到革命:中国浪漫主义的嬗变[J].文史哲,2007,(6):81-86.
[15]歌德.歌德文集[M].杨武能等译.北京:人民文学出版社,1997.
[16]冯奇.郭沫若与郁达夫的浪漫世界之比较[J].中国现代文学研究丛刊,1990,(2):170-186.
[17]冯奇.现代性语境中的中国浪漫主义运动[J].文学批评,2001,(1):33-41.
[18]钱理群,温儒敏,吴福辉.中国现代文学三十年[M].北京:北京大学出版社,1998.
[19]亚当·斯密.道德情操论[M].蒋自强等译.北京:商务印书馆,2003.
[20]雁冰.通信(摘录)[A].王自立,陈子善编.郁达夫研究资料(下)[C].天津:天津人民出版社,1982.304.
[21]郁达夫.沉沦[A].郁达夫全集(第一卷)[C].杭州:浙江文艺出版社,1992.39-75.
[22]郁达夫.《沉沦》自序[C].郁达夫全集(第十卷)[C].杭州:浙江文艺出版社,1992.18-19.
[23]郑伯奇.《寒灰集》批评[C].陈子善,王自立编.郁达夫研究资料(下)[C].广州:花城出版社,1985.12-22.
(1)出自《沉沦》的引文后面只在括号内标注页码。
(2)《少年维特的烦恼》是德国狂飙突进运动中的重要作品,也被视为一部典型的感伤小说。歌德在小说中塑造了一位浪漫主义主人公的原型形象,少年维特内心敏感、情感热烈,对自然有着特殊的敏感,与世界和自我格格不入,因无望的爱和厌世情绪而最终自杀。感伤主义是浪漫主义的先声,流行于18世纪后半叶,直接得益于虔敬主义的滋养。虔敬主义为新教路德宗教会中的一派,强调内在生活和自我反省,认为这是抵达神性的真正路径,虔敬主义通过教育和办学等途径有力推动了18世纪感伤文化的兴起。