新时期以来中国文论话语的现代性追求
|
摘要
在"现代性"一词由新名词转向学术关键词与流行语的进程中,重返历史现场以打破欧洲式透视法下的"知的帝国主义",并敞开中国现代性多元可能的历史起源与错落斑斓的现实构成,日渐成为海内外学者交流对话的核心论题。在新时期、后新时期与新时代三个关键节点,怀抱现实关切的国内学者在不同历史意识的指引下,继承发明或是引进再造了中国文学现代性的数个起点,从而在"从前往后看"与"从后往前看""从里向外看"与"从外向里看"的多重辩证中实现对中国文学史乃至文化思潮史的重写与再改写。梳理这段繁复历史是我们反省"我们是谁"并回应现代性论述的位置所在,也是我们检视"‘现代’何以在‘中国’成为问题"与"‘中国’何以在‘现代’成为问题"的入口之处。
In the process of the word modernity turning from new nouns to academic keywords and buzzwords, returning to the historical scene to break "cognized imperialism" under the European perspective and opening up the multi-possible historical origin of Chinese modernity and colorful reality have increasingly become the core topic of exchanges between scholars at home and abroad. In the three key nodes of the new period, the post-new period and the new era, the domestic scholars with real concern,under the guidance of different historical consciousness, inherit inventions and introduce and recreate several starting points of the modernity of Chinese literature, thereby realizing the rewriting and recreating for Chinese literature and even the cultural thoughts in the multiple dialectics between "looking from forward to back" and "looking from back to forward" and between "looking from inside to outside" and "looking from outside to inside". Tracing back the complicated history is where we reflect on "who we are" and respond to the discourse of modernity. It is also the entrance to examine why "modernity" has become a problem in "China" and why "China" has become a problem in "modernity".
In the process of the word modernity turning from new nouns to academic keywords and buzzwords, returning to the historical scene to break "cognized imperialism" under the European perspective and opening up the multi-possible historical origin of Chinese modernity and colorful reality have increasingly become the core topic of exchanges between scholars at home and abroad. In the three key nodes of the new period, the post-new period and the new era, the domestic scholars with real concern,under the guidance of different historical consciousness, inherit inventions and introduce and recreate several starting points of the modernity of Chinese literature, thereby realizing the rewriting and recreating for Chinese literature and even the cultural thoughts in the multiple dialectics between "looking from forward to back" and "looking from back to forward" and between "looking from inside to outside" and "looking from outside to inside". Tracing back the complicated history is where we reflect on "who we are" and respond to the discourse of modernity. It is also the entrance to examine why "modernity" has become a problem in "China" and why "China" has become a problem in "modernity".
引文
[1]王伟.现代性故事的想象机制与讲述方式[M].桂林:广西师范大学出版社,2015.
[2]David Frisby. Fragments of Modernity:Theories of Modernity in the Work of Simmel, Kracauer and Benjamin[M].Cambridge:The MIT Press, 1988.
[3]刘士林.诗性文化的旧邦新命[M].武汉:华中师范大学出版社,2016.
[4]傅世悌.一切为了饥渴者和盗火者——对《走向未来》丛书的一点回顾和思考[J].出版工作,1986,9(10).
[5]金观涛,刘青峰.中国历史上封建社会的结构:一个超稳定系统[J].贵阳师院学报,1980,5(1).
[6]吴泽泉.全球视野中文学民族性的发现——论晚清“小说界革命”的一个重要结果[J].甘肃社会科学,2008,30(2).
[7]汪晖.现代中国思想的兴起[M].北京:三联书店,2015.
[8]聂长建.孔子法政哲学的现代性阐释[M].北京:中国社会科学出版社,2013.
[9]张静莉.朱熹语文教育思想的现代性[J].渭南师范学院学报,2013,33(4).
[10]姚中秋.为儒家鼓与呼[M].福州:福建教育出版社,2014.
[11]俞兆平.“重写文学史”的困惑与突围[J].南方文坛,2000,15(4).
[12]王宁.消解“单一的现代性”:重构中国的另类现代性[J].社会科学,2011,33(9).
[13]南帆.文学研究:本质主义,抑或关系主义[J].文艺研究,2007,29(8).
[14]杨春时.走出迂回——中国文化转型[M].香港:天地图书公司,1995.
[15]舒婷.舒婷诗[M].武汉:长江文艺出版社,2012.
[16]陈晓明.在“世界中”的中国文学史[J].南方论坛,2017,32(5).
[17]李欧梵,季进.现代性的中国面孔:李欧梵、季进对谈论[M].北京:人民日报出版社,2011.
[18]万芳,夏志清.李欧梵、王德威与中国现当代文学研究——以“重写文学史”思潮为中心[J].华文文学,2016,32(1).
[19]李凤亮.彼岸的现代性:美国华人批评家访谈录[M].桂林:广西师范大学出版社,2011.
[20]李欧梵.现代性的追求[M].北京:人民文学出版社,2010.
[21]王德威.被压抑的现代性[J].社会科学论坛,2006,23(2).
[22]李世涛.从“重写文学史”到“人文精神讨论”——王晓明先生访谈录[J].当代文坛,2007,37,(5).
[23]李欧梵.上海摩登:一种新都市文化在中国[M].北京:人民文学出版社,2011.
[24]克罗齐.一切历史都是当代史[J].世界哲学,2002,44(6).
[25]王德威.“世界中”的中国文学[J].南方文坛,2017,32(5).
[26]朱又可.“原来中国文学是这样有意思!”——王德威谈哈佛版《新编现代中国文学史》[N].南方周末,2017-08-24(8).
[27]丁帆.“世界中”的中国文学史编写观念[J].南方论坛,2017,32(5).
[28]王德威.现当代文学新论:义理·伦理·地理[M].北京:三联书店,2014.
[29]王德威.抒情传统与中国现代性:在北大的八堂课[M].北京:三联书店,2010.
[30]季进.另一种声音——海外汉学访谈录[M].上海:复旦大学出版社,2011.
[31]唐小兵.再解读:大众文艺与意识形态[M].北京:北京大学出版社,2007.
[32]方维规.“中国”意识何以生成——勘测“新清史”的学术地层及其周边构造[J].探索与争鸣,2018,33(6).
[2]David Frisby. Fragments of Modernity:Theories of Modernity in the Work of Simmel, Kracauer and Benjamin[M].Cambridge:The MIT Press, 1988.
[3]刘士林.诗性文化的旧邦新命[M].武汉:华中师范大学出版社,2016.
[4]傅世悌.一切为了饥渴者和盗火者——对《走向未来》丛书的一点回顾和思考[J].出版工作,1986,9(10).
[5]金观涛,刘青峰.中国历史上封建社会的结构:一个超稳定系统[J].贵阳师院学报,1980,5(1).
[6]吴泽泉.全球视野中文学民族性的发现——论晚清“小说界革命”的一个重要结果[J].甘肃社会科学,2008,30(2).
[7]汪晖.现代中国思想的兴起[M].北京:三联书店,2015.
[8]聂长建.孔子法政哲学的现代性阐释[M].北京:中国社会科学出版社,2013.
[9]张静莉.朱熹语文教育思想的现代性[J].渭南师范学院学报,2013,33(4).
[10]姚中秋.为儒家鼓与呼[M].福州:福建教育出版社,2014.
[11]俞兆平.“重写文学史”的困惑与突围[J].南方文坛,2000,15(4).
[12]王宁.消解“单一的现代性”:重构中国的另类现代性[J].社会科学,2011,33(9).
[13]南帆.文学研究:本质主义,抑或关系主义[J].文艺研究,2007,29(8).
[14]杨春时.走出迂回——中国文化转型[M].香港:天地图书公司,1995.
[15]舒婷.舒婷诗[M].武汉:长江文艺出版社,2012.
[16]陈晓明.在“世界中”的中国文学史[J].南方论坛,2017,32(5).
[17]李欧梵,季进.现代性的中国面孔:李欧梵、季进对谈论[M].北京:人民日报出版社,2011.
[18]万芳,夏志清.李欧梵、王德威与中国现当代文学研究——以“重写文学史”思潮为中心[J].华文文学,2016,32(1).
[19]李凤亮.彼岸的现代性:美国华人批评家访谈录[M].桂林:广西师范大学出版社,2011.
[20]李欧梵.现代性的追求[M].北京:人民文学出版社,2010.
[21]王德威.被压抑的现代性[J].社会科学论坛,2006,23(2).
[22]李世涛.从“重写文学史”到“人文精神讨论”——王晓明先生访谈录[J].当代文坛,2007,37,(5).
[23]李欧梵.上海摩登:一种新都市文化在中国[M].北京:人民文学出版社,2011.
[24]克罗齐.一切历史都是当代史[J].世界哲学,2002,44(6).
[25]王德威.“世界中”的中国文学[J].南方文坛,2017,32(5).
[26]朱又可.“原来中国文学是这样有意思!”——王德威谈哈佛版《新编现代中国文学史》[N].南方周末,2017-08-24(8).
[27]丁帆.“世界中”的中国文学史编写观念[J].南方论坛,2017,32(5).
[28]王德威.现当代文学新论:义理·伦理·地理[M].北京:三联书店,2014.
[29]王德威.抒情传统与中国现代性:在北大的八堂课[M].北京:三联书店,2010.
[30]季进.另一种声音——海外汉学访谈录[M].上海:复旦大学出版社,2011.
[31]唐小兵.再解读:大众文艺与意识形态[M].北京:北京大学出版社,2007.
[32]方维规.“中国”意识何以生成——勘测“新清史”的学术地层及其周边构造[J].探索与争鸣,2018,33(6).