从《马桥词典》到《山南水北》——90年代以来韩少功的文学世界
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摘要
韩少功是新时期以来的一位重要作家,他在20世纪90年代以后陆续发表出版了《马桥词典》、《暗示》、《山南水北》三部长篇作品及一系列思想随笔,无论是文学上还是思想上,都表现出相当的丰富性、深刻性和独创性,成为当代文学的一个重要标本和独特风景。研究90年代以来韩少功的文学创作,不仅仅是单个作家研究,而且具有文学史和思想史的意义。但在90年代以来的众声喧哗中,韩少功又是一个被忽视和被低估的作家,虽然有一些研究他的文章,也出版了两本评传(一是何言宏、杨霞合著的《坚持与抵抗——韩少功》,一是孔见著的《韩少功评传》),但总的来说,当代文学研究界缺乏对韩少功文学创作的系统性、整体性研究。
本论文包括以下章节。
绪论：对韩少功90年代以来文学创作全貌及流变的整体考察。韩少功此一时期的文学创作,呈现三个重要特点：1、从启蒙话语到人性话语的转变。虽然1996年出版的《马桥词典》上继80年代的《爸爸爸》、《女女女》,仍然重点展开对民族文化负面性和国民劣根性的深度批判,但通过一系列农民形象的塑造,已经表现出对底层人物悲惨命运的深切同情和对他们美好人性的倾情赞美。到了散文集《山南水北》以及进入新千年后的许多中短篇小说里,启蒙话语已经基本上被人性话语所取代了,鲁迅已经让位于沈从文。2、从闯荡都市到重返乡土的转化。从红卫兵到知青,从下乡到回城,从湖南到海南,从海口到泪罗,韩少功的人生经历了一个由都市到乡村,由乡村到都市,再由都市又到乡村的双重轮回。最初他的人生是外向性、扩张性的,都市是他欲去还留、欲说还休的主动性选择。从90年代初的一系列思想随笔到2002年出版的《暗示》,韩少功对转型期的中国社会与文化进行了深入的反思与尖锐的批判,已经暗示他即将抛弃单纯的都市化生存。从2000年季节性迁居汨罗到2006年《山南水北》的出版,韩少功从精神上选择了重返乡土,选择了如沈从文描述的“优美、健康、自然,而又不悖乎人性的人生形式”,尽管这不意味着他彻底逃离都市。3、从线性叙事到片断表达的转换。80年代韩少功的创作,虽然都是中短篇,但基本上采取的是线性叙事的方式,走着传统小说的路子,而90年代以后的《马桥词典》、《暗示》、《山南水北》,虽都是长篇作品,却都采用了片断化的叙事策略,不再是逻辑严密、环环相扣的情节化、线性化的叙事方式。这不仅是文体的探索,更是世界观和思维方式的转变。
第一章：故事场域。从自然地理、历史文化、情感伦理三个方面分析《马桥词典》、《暗示》、《山南水北》三部作品的故事发生地及其隐含意义。从故事场域的角度来说,《马桥词典》里的马桥弓,《暗示》里的太平墟,《山南水北》里的八溪峒,三个地域有着既十分接近又不完全相同的奇特关系,可以统称马桥世界。从自然地理来说,它是封闭而自足的南蛮之地；从历史文化来说,它是被迫害而无名的悲情之河；从情感意义上来说,它是韩少功爱哀交织的精神原乡。马桥世界浓缩着韩少功对整个中国历史底层社会的解读,也凝聚了韩少功的全部情感。
第二章——第四章：人物谱系。具体分析韩少功笔下的农民形象、知青形象、“智识者”形象。尽管三部长篇作品不同于传统意义上的以塑造人物、营造情节为主的长篇小说,但韩少功仍然塑造了众多栩栩如生、意味深长的人物形象。主要有三类。一类是农民。农民是韩少功一直关注的,对农民艰辛命运的深刻揭示,纯朴人性的倾情描画,愚顽习性的直率批判,贯穿在韩少功的所有作品中,而以90年代后的《马桥词典》和《山南水北》为甚。它们充分体现了韩少功对农民的深切了解、炽热情感和严肃担当。他笔下的一组组农民群像,上承鲁迅和30年代的乡土文学,中继新时期以来的农村题材文学,必将在当代中国文学史上占有一席之地。一类是知青。以出版于2002年的长篇系列随笔《暗示》和发表于2001年的中篇小说《兄弟》为代表。在这些小说中,韩少功以惊人的客观冷静和深沉的悲悯情怀,塑造了一系列鲜明生动的知青形象,而且不但写了他们的本事——知青生活,也写了他们的后史——改革开放后乃至进入新世纪后的命运和思想变迁。既写了他们热血激荡的岁月,又不回避他们分化失落的人生。韩少功的知青叙事,为他笔下的文学人物走廊、也为中国当代文学中的知青形象长廊,增添了新鲜面孔。三是“智识者”。在90年代以来的随笔、小说、散文里,韩少功塑造了一个“智识者”群像,他们大多数是如鱼得水的知识精英,通过非常规甚至卑鄙的手段成名,基本上是一些附庸风雅、装腔作势的知识留声机,在洋人面前极度自卑,在国人面前又无比傲慢。这类人的产生,源自部分中国知识分子固有的虚荣、自私、势利、精明,更是转型期中国知识界大面积崩溃、堕落、无耻的表征。韩少功对“智识者”的病象揭示和灵魂拷问,有其精神源流,这就是鲁迅的“智识者”批判和昆德拉的媚俗理论。
第五章：文体探索。90年代以来,韩少功在其创作中对文体进行了自觉的、不懈的探索。这种文体探索,其主要特点是跨界、杂糅与片断化文体。他这一时期的写作,是一种跨界写作,或者说跨文体写作。这种跨界,经由两种路径：一是由小说而散文的转身,一段时期内,韩创作了大量份量厚重的思想随笔和山水笔记；二是跨越于小说、散文两种文体之间,打通两种文体的壁垒,形成了一种韩少功式的散文化小说,或小说化散文。与文体的跨界相对应的,是要素的杂糅,即杂糅哲思、叙事、抒情等多种文体要素,大量采用先叙后议、先议后叙、夹叙夹议(或夹议夹叙)的方式,形成一种故事精彩又议论风生、人物鲜明又思想深刻的韩式文体。此外,他还采用散点结构、片断表达、系列叙事、自由组合、第一人称视角的方式,打通短篇与长篇的界限,以主题一致、人物关联、独立成篇又相沿成列的方式,创作出分散而又完整、看似无关实则有内在逻辑结构的长篇系列作品。感性与理性,片断与整体,是有机统一的。从整体上评估,韩少功这一时期的文体探索,取得了重要成果,积累了宝贵经验,也留下了可以商榷的案例。
第六章：艺术思维。分析韩少功创作中感性思维、理性思维、巫性思维综合运用、相得益彰的艺术特点。韩少功的写作,追求的是理性观照下的感性呈现,即以理性为底,感性为重,理性与感性平衡互补,在感觉中展开叙述,让思想渗透情感。哲思与形象、理智与情感高度统一。阅读他的《山南水北》等作品,既是一场感觉的盛宴,又是一次思想的旅行,既有杂花生树之景象,又有洗心涤肺之快感。此外,韩少功虽然是一个清醒的理性主义者,但一直以来,他也对某种超自然的、异常的、神秘的、荒诞的东西具有特殊的偏好,也可以说是一个万物有灵论者、一个自然崇拜者,甚至是一个神秘主义者。无论是《爸爸爸》、《女女女》、《蓝盖子》,还是《马桥词典》、《暗示》、《山南水北》,都是如此。可以说,韩少功以马桥为基地、以民间传说和个人体验为依凭,建构了一个一以贯之的巫性世界。韩少功的巫性思维,来源于三个方面：一是广泛存在于马桥世界的万物有灵论和灵异主义思维,韩少功的巫性想象不是对魔幻现实主义的简单摹仿,不是毫无根基的天马行空般的自由想象。从他的巫风浓郁的作品中,可以读出马桥人的历史、文化、土地、人性。二是湖南文学的巫诗传统,从屈原到沈从文再到孙健忠、蔡测海、残雪、叶梦等当代湖南作家,一直有着一种既诡异又瑰丽的巫性传统。三是韩少功个人化的文化趣味和文学追求,对民间文化、底层社会、山野传说的浓厚兴趣决定了他创作中的巫性色彩。
第七章：人生取向。重点解读韩少功季节性迁居泪罗的文化意义。2000年韩少功的移居泪罗,尽管只是阶段性、季节性的,但仍具有重大的象征性意义。它标志着一个都市人对乡村的回归,一个异乡人对家乡的回归,一个知识分子对民间的回归。韩少功的皈依泪罗,绝不是对陶渊明的简单模仿,而是表现出清醒务实的理性选择。他追求的是自然与文明的平衡,同时又超越了简单的田园主义和进步主义。他反思都市,但并不拒绝文明；回归自然,但绝非成为隐者；置身民间,但并不认同愚昧；批判智识,但并非走向民粹。韩少功的人生选择,为在转型期、全球化时代既有良知有担当、同时又有“独立之精神、自由之思想”的中国知识分子的进退出处,树立了一个标杆,一种范式。
Han Shaogong is a very important writer since the "New Time". After 1990s, he published three long works ("The Dictionary of Maqiao", "Hint", "South To Mountain North To Water") and a series of thought prose, which were rich, profound and with originality in literature and thought. These works became a very important specimen and unique landscape. To research Hanshaogong's works since 1990s is not only a study of a single writer but also history of literature and thought. However, amid the voice of 1990s, Hanshaogong was neglected and undervalued. Generally speaking, contemporary literature did little systematic and coherent study on Hanshaogong's literature creation, although there were a few articles researching on him and two biographies (one was "Persistence and Resistance by Heyanhong and Yanywia, the other was "Biography of Hanshaogong" by Kongjian,
This paper comprises chapters as follows:
Introduction An overview of Hanshaogong's literature creation since 1990s. In this period, Han's creation showed three important features:1, turning from enlightenment language to humanity language. "The Dictionary of Maqiao" succeeds "Dad Dad Dad" and "Daughter Daughter Daughter" of 1980s, yet it still focuses on deeply criticizing culture negativity and national bad quality. It reflects Han's deep compassion to the tragic fate and passionate praise to the good humanity of the bottom level people, through a series of character of peasants; To a collection of essays South To Mountain North To Water and many of the short stories after the new millennium, enlightenment language has largely been replaced by humanity language,and Lu Xun has given way to Shen Cong-wen.2, turning from wandering in city to returning to countryside. He originally lived a outgoing and expansionary life, with a bi-direction circle as from "Hongweibing" to "Zhiqing", from "going to the countryside" to "returning to city. He chose city in a way of more stay and less expression. From his thought essays series since early 1990s to "Hint" published in 2002, Hanshaogong deeply reviewed and sharply criticized Chinese society and culture in turning time, which suggested his detaching from pure urban life. From his seasonally moving to Miluo since 2000 to the publication of "South to Mountain North to Water", he spiritually chose returning to countryside and a life-style which Shenchenwen described as elegant, healthy, natural and humane.3, change from linear narrative to paragraphic expression. Han's creation in 1980s, though mainly middle and short, tried a grand narrative in a traditional way of novel. But, since 1990s, "The Dictionary of Maqiao", "Hint", "South to Mountain North to Water", though as long works, took strategy of paragraphic narrative, other than linear narrative with strict logic and coherent plot. This was a change of attitude and way of thinking, more than exploration of literature style.
Chapter one:story fields. Analysis the story fields of the three works of "The Dictionary of Maqiao", "Hint", "South To Mountain North To Water" and their implication, in the natural geography, history and culture. From the story field point of view, Maogongqiao in "The Dictionary of Maqiao", Taipingxu in "Hint" and Baoxidong in "South to Mountain North to Water" are very closely related but not completely the same. They could be collectively called the world of Maoqiao. In the natural geography, it is a closed and self-sufficient southern barbarian land; and in history and culture, it is the sad river of the persecution and the unknown; in emotional sense, it is Han's spiritual homeland of love and sorrow. The world of Maoqiao concentrates Hanshaogong's reading of Chinese historical bottom life and all of his emotion.
ChapterⅡ-ChapterⅣ:characters pedigree:A detailed analysis of the characters of peasants, Zhiqing and "wise-intellectuals" in Han's works. Although the above three works are different from the traditional novels which focus on shaping characters and creating plot, Hanshaogong created lots of vivid and meaningful characters. There are three kinds: one is peasants. Hanshaogong keeps concerning about peasants. He has been revealing peasants'hard fate, passionately describing their pure humanity, and bluntly criticizing their stupid habit all through his works, especially in the works of 1990s as "The Dictionary of Maqiao" and "South To Mountain North To Water". They fully reflect Han's deep understanding of peasants, his hot emotions and serious undertakings. Farmer groups beneath his pen originate Luxun's folk literature of 1930s, relay literature of countryside since the New Era, and are surely going to take a very important seat in history of Chinese contemporary literature. The second kind character is "Zhiqing", represented by the long essay series of "Hint" published in 2000 and middle novel of "Brothers" published in 2001. In these novels, Hanshaogong created a series of vivid character of "Zhiqing" with surprising calm and objective feeling and deep compassion. He wrote post-Zhiqing life of "Zhiqing"-their fate and ideological change after Chinese reforming and opening in the new century, as well as their ability-life of "Zhiqing". He described their inspired times, but didn't avoid their splitting and failure. His narrative of "Zhiqing" added new faces to his own literary character gallery, as well as to the "Zhiqing" figures gallery in Chinese contemporary literature. The third kind is "wise intellectuals" Hanshaogong created a group of "wise intellectuals" in his prose, novels and essays since 1990s. Most of them are intellectual elites who get fame by unusual or even despicable means. They are knowledge recorder, feeling extremely inferior before foreigners while extremely superior before their countrymen. Vanity, selfishness, benefits-pursuing and calculativeness which rooted in Chinese intellectuals produce this kind of persons. And they reflects the massive collapse, decadence and shamelessness of Chinese intelligentsia. Han's revealing wise intellectuals'sickness and enquiring their soul is spiritually originated from "intellectual criticism of Luxun and Kundera's theory.
Chapter V:stylistic exploration. Since 1990s, Hanshaogong explored the style self-consciously and continuously in his creation. The main features of this stylistic exploration are cross-boundary, mixture and paragraphic style. His writing in this period is a writing of cross-boundary or cross-style. This cross-boundary has two paths:one is turning from novel to prose. Han created lots of thought essays and landscape notes in a period; the other path is cross the two styles of novel and prose, breaking down the barriers, fostering a Hanshaogong-style prose-novel, or say, novelized prose. Another thing Han explored was mixing a lot of elements of philosophy, narrative and lyric, etc. He adopted the way of narrating followed by commenting; commenting followed by narrating or mix narrating and commenting, forming a Han's style which has good story and comments, clear characters and deep thought. Furthermore, he also linked the boundary of long and short works by adopting scattering structure, series narrative, free combination, eye of the first-person, creating series long works which is separate and associated, seemingly unrelated but actually logically coherent, in a way of following one theme, linking characters and independent articles. Sense and sensibility, paragraph and whole are an organic unity. Generally evaluating, Hanshaogong's stylistic exploration in this period got very important achievements and experience, but also left questionable cases.
Chapter VI:Art of thinking analyzing Hanshaogong's art feature of congregating perceptual thinking, rational thinking and wizard thinking.. Hanshaogong's creation pursues sense presentation lightening under sensation, which bases on sensation, and focus on sense, finding the balance. He narrates within perception, injects feeling into thought, and unites philosophic thinking and image. Reading his "South to Mountain North to Water" is a party of percepion as well as a travel of thought. You see scenery of flowers and trees, and feel pleasure from mind to heart. Besides, Hanshaogong is a rationalist, yet he has been preferred to supernatural, unusual, mysterious and absurd things. He could be an animist, a nature worshiper, and even a mystic.'Dad Dad Dad" and "Daughter Daughter Daughter", "Blue Cover", "Dictionary of Maqiao", "Hint" and "South to Mountain North to Water" all have these features. We could say that Hanshaogong created a wizard world that based in Maqiao, according to folklore and his personal experience. Han's wizard thinking comes from three aspects:one is the widely-accepted animist thinking in the world of Maqiao. The second is the wizard tradition of Hunan literature. There is a tradition of mysterious and pretty wizard poetry in Hunan contemporary, from Quyuan to Shenchenwen and Sunjianzhong, Caicehai, Canxue, Yemeng. The third one is Hanshaogong's personal literary tastes and culture pursuit. His strong interest in folk culture, bottom level society and countryside legend determined the wizard feature in his creation.
ChapterⅦ:Life Orientation. Mainly reads the cultural meaning of Hanshaogong's seasonal moving to Miluo. Han's moving to Miluo in 2000 has great symbolic significance, although it was short-term and seasonal. It marks return to village of a metropolitan individual, to homeland of a stranger, to common life of an intellectual. The return to Miluo of him is absolutely not a simple imitation of Taoyuanming, but a practical choosing with clear sensation. What he pursue is the balance between nature and civilization, while beyond the simple pastoral doctrine and progressive. He rethinks city but does not rejects civilization; he return to nature, but by no means becomes a hermit; he lives among the public but disagree with ignorance; he criticizes intellectuals but does not follow populism. Hanshaogong's life choice sets a benchmark and paradigm for Chinese intellectuals to be one who has conscience, "spirit of independence and thought of freedom" in the time of turning and globalization.
本论文包括以下章节。
绪论：对韩少功90年代以来文学创作全貌及流变的整体考察。韩少功此一时期的文学创作,呈现三个重要特点：1、从启蒙话语到人性话语的转变。虽然1996年出版的《马桥词典》上继80年代的《爸爸爸》、《女女女》,仍然重点展开对民族文化负面性和国民劣根性的深度批判,但通过一系列农民形象的塑造,已经表现出对底层人物悲惨命运的深切同情和对他们美好人性的倾情赞美。到了散文集《山南水北》以及进入新千年后的许多中短篇小说里,启蒙话语已经基本上被人性话语所取代了,鲁迅已经让位于沈从文。2、从闯荡都市到重返乡土的转化。从红卫兵到知青,从下乡到回城,从湖南到海南,从海口到泪罗,韩少功的人生经历了一个由都市到乡村,由乡村到都市,再由都市又到乡村的双重轮回。最初他的人生是外向性、扩张性的,都市是他欲去还留、欲说还休的主动性选择。从90年代初的一系列思想随笔到2002年出版的《暗示》,韩少功对转型期的中国社会与文化进行了深入的反思与尖锐的批判,已经暗示他即将抛弃单纯的都市化生存。从2000年季节性迁居汨罗到2006年《山南水北》的出版,韩少功从精神上选择了重返乡土,选择了如沈从文描述的“优美、健康、自然,而又不悖乎人性的人生形式”,尽管这不意味着他彻底逃离都市。3、从线性叙事到片断表达的转换。80年代韩少功的创作,虽然都是中短篇,但基本上采取的是线性叙事的方式,走着传统小说的路子,而90年代以后的《马桥词典》、《暗示》、《山南水北》,虽都是长篇作品,却都采用了片断化的叙事策略,不再是逻辑严密、环环相扣的情节化、线性化的叙事方式。这不仅是文体的探索,更是世界观和思维方式的转变。
第一章：故事场域。从自然地理、历史文化、情感伦理三个方面分析《马桥词典》、《暗示》、《山南水北》三部作品的故事发生地及其隐含意义。从故事场域的角度来说,《马桥词典》里的马桥弓,《暗示》里的太平墟,《山南水北》里的八溪峒,三个地域有着既十分接近又不完全相同的奇特关系,可以统称马桥世界。从自然地理来说,它是封闭而自足的南蛮之地；从历史文化来说,它是被迫害而无名的悲情之河；从情感意义上来说,它是韩少功爱哀交织的精神原乡。马桥世界浓缩着韩少功对整个中国历史底层社会的解读,也凝聚了韩少功的全部情感。
第二章——第四章：人物谱系。具体分析韩少功笔下的农民形象、知青形象、“智识者”形象。尽管三部长篇作品不同于传统意义上的以塑造人物、营造情节为主的长篇小说,但韩少功仍然塑造了众多栩栩如生、意味深长的人物形象。主要有三类。一类是农民。农民是韩少功一直关注的,对农民艰辛命运的深刻揭示,纯朴人性的倾情描画,愚顽习性的直率批判,贯穿在韩少功的所有作品中,而以90年代后的《马桥词典》和《山南水北》为甚。它们充分体现了韩少功对农民的深切了解、炽热情感和严肃担当。他笔下的一组组农民群像,上承鲁迅和30年代的乡土文学,中继新时期以来的农村题材文学,必将在当代中国文学史上占有一席之地。一类是知青。以出版于2002年的长篇系列随笔《暗示》和发表于2001年的中篇小说《兄弟》为代表。在这些小说中,韩少功以惊人的客观冷静和深沉的悲悯情怀,塑造了一系列鲜明生动的知青形象,而且不但写了他们的本事——知青生活,也写了他们的后史——改革开放后乃至进入新世纪后的命运和思想变迁。既写了他们热血激荡的岁月,又不回避他们分化失落的人生。韩少功的知青叙事,为他笔下的文学人物走廊、也为中国当代文学中的知青形象长廊,增添了新鲜面孔。三是“智识者”。在90年代以来的随笔、小说、散文里,韩少功塑造了一个“智识者”群像,他们大多数是如鱼得水的知识精英,通过非常规甚至卑鄙的手段成名,基本上是一些附庸风雅、装腔作势的知识留声机,在洋人面前极度自卑,在国人面前又无比傲慢。这类人的产生,源自部分中国知识分子固有的虚荣、自私、势利、精明,更是转型期中国知识界大面积崩溃、堕落、无耻的表征。韩少功对“智识者”的病象揭示和灵魂拷问,有其精神源流,这就是鲁迅的“智识者”批判和昆德拉的媚俗理论。
第五章：文体探索。90年代以来,韩少功在其创作中对文体进行了自觉的、不懈的探索。这种文体探索,其主要特点是跨界、杂糅与片断化文体。他这一时期的写作,是一种跨界写作,或者说跨文体写作。这种跨界,经由两种路径：一是由小说而散文的转身,一段时期内,韩创作了大量份量厚重的思想随笔和山水笔记；二是跨越于小说、散文两种文体之间,打通两种文体的壁垒,形成了一种韩少功式的散文化小说,或小说化散文。与文体的跨界相对应的,是要素的杂糅,即杂糅哲思、叙事、抒情等多种文体要素,大量采用先叙后议、先议后叙、夹叙夹议(或夹议夹叙)的方式,形成一种故事精彩又议论风生、人物鲜明又思想深刻的韩式文体。此外,他还采用散点结构、片断表达、系列叙事、自由组合、第一人称视角的方式,打通短篇与长篇的界限,以主题一致、人物关联、独立成篇又相沿成列的方式,创作出分散而又完整、看似无关实则有内在逻辑结构的长篇系列作品。感性与理性,片断与整体,是有机统一的。从整体上评估,韩少功这一时期的文体探索,取得了重要成果,积累了宝贵经验,也留下了可以商榷的案例。
第六章：艺术思维。分析韩少功创作中感性思维、理性思维、巫性思维综合运用、相得益彰的艺术特点。韩少功的写作,追求的是理性观照下的感性呈现,即以理性为底,感性为重,理性与感性平衡互补,在感觉中展开叙述,让思想渗透情感。哲思与形象、理智与情感高度统一。阅读他的《山南水北》等作品,既是一场感觉的盛宴,又是一次思想的旅行,既有杂花生树之景象,又有洗心涤肺之快感。此外,韩少功虽然是一个清醒的理性主义者,但一直以来,他也对某种超自然的、异常的、神秘的、荒诞的东西具有特殊的偏好,也可以说是一个万物有灵论者、一个自然崇拜者,甚至是一个神秘主义者。无论是《爸爸爸》、《女女女》、《蓝盖子》,还是《马桥词典》、《暗示》、《山南水北》,都是如此。可以说,韩少功以马桥为基地、以民间传说和个人体验为依凭,建构了一个一以贯之的巫性世界。韩少功的巫性思维,来源于三个方面：一是广泛存在于马桥世界的万物有灵论和灵异主义思维,韩少功的巫性想象不是对魔幻现实主义的简单摹仿,不是毫无根基的天马行空般的自由想象。从他的巫风浓郁的作品中,可以读出马桥人的历史、文化、土地、人性。二是湖南文学的巫诗传统,从屈原到沈从文再到孙健忠、蔡测海、残雪、叶梦等当代湖南作家,一直有着一种既诡异又瑰丽的巫性传统。三是韩少功个人化的文化趣味和文学追求,对民间文化、底层社会、山野传说的浓厚兴趣决定了他创作中的巫性色彩。
第七章：人生取向。重点解读韩少功季节性迁居泪罗的文化意义。2000年韩少功的移居泪罗,尽管只是阶段性、季节性的,但仍具有重大的象征性意义。它标志着一个都市人对乡村的回归,一个异乡人对家乡的回归,一个知识分子对民间的回归。韩少功的皈依泪罗,绝不是对陶渊明的简单模仿,而是表现出清醒务实的理性选择。他追求的是自然与文明的平衡,同时又超越了简单的田园主义和进步主义。他反思都市,但并不拒绝文明；回归自然,但绝非成为隐者；置身民间,但并不认同愚昧；批判智识,但并非走向民粹。韩少功的人生选择,为在转型期、全球化时代既有良知有担当、同时又有“独立之精神、自由之思想”的中国知识分子的进退出处,树立了一个标杆,一种范式。
Han Shaogong is a very important writer since the "New Time". After 1990s, he published three long works ("The Dictionary of Maqiao", "Hint", "South To Mountain North To Water") and a series of thought prose, which were rich, profound and with originality in literature and thought. These works became a very important specimen and unique landscape. To research Hanshaogong's works since 1990s is not only a study of a single writer but also history of literature and thought. However, amid the voice of 1990s, Hanshaogong was neglected and undervalued. Generally speaking, contemporary literature did little systematic and coherent study on Hanshaogong's literature creation, although there were a few articles researching on him and two biographies (one was "Persistence and Resistance by Heyanhong and Yanywia, the other was "Biography of Hanshaogong" by Kongjian,
This paper comprises chapters as follows:
Introduction An overview of Hanshaogong's literature creation since 1990s. In this period, Han's creation showed three important features:1, turning from enlightenment language to humanity language. "The Dictionary of Maqiao" succeeds "Dad Dad Dad" and "Daughter Daughter Daughter" of 1980s, yet it still focuses on deeply criticizing culture negativity and national bad quality. It reflects Han's deep compassion to the tragic fate and passionate praise to the good humanity of the bottom level people, through a series of character of peasants; To a collection of essays South To Mountain North To Water and many of the short stories after the new millennium, enlightenment language has largely been replaced by humanity language,and Lu Xun has given way to Shen Cong-wen.2, turning from wandering in city to returning to countryside. He originally lived a outgoing and expansionary life, with a bi-direction circle as from "Hongweibing" to "Zhiqing", from "going to the countryside" to "returning to city. He chose city in a way of more stay and less expression. From his thought essays series since early 1990s to "Hint" published in 2002, Hanshaogong deeply reviewed and sharply criticized Chinese society and culture in turning time, which suggested his detaching from pure urban life. From his seasonally moving to Miluo since 2000 to the publication of "South to Mountain North to Water", he spiritually chose returning to countryside and a life-style which Shenchenwen described as elegant, healthy, natural and humane.3, change from linear narrative to paragraphic expression. Han's creation in 1980s, though mainly middle and short, tried a grand narrative in a traditional way of novel. But, since 1990s, "The Dictionary of Maqiao", "Hint", "South to Mountain North to Water", though as long works, took strategy of paragraphic narrative, other than linear narrative with strict logic and coherent plot. This was a change of attitude and way of thinking, more than exploration of literature style.
Chapter one:story fields. Analysis the story fields of the three works of "The Dictionary of Maqiao", "Hint", "South To Mountain North To Water" and their implication, in the natural geography, history and culture. From the story field point of view, Maogongqiao in "The Dictionary of Maqiao", Taipingxu in "Hint" and Baoxidong in "South to Mountain North to Water" are very closely related but not completely the same. They could be collectively called the world of Maoqiao. In the natural geography, it is a closed and self-sufficient southern barbarian land; and in history and culture, it is the sad river of the persecution and the unknown; in emotional sense, it is Han's spiritual homeland of love and sorrow. The world of Maoqiao concentrates Hanshaogong's reading of Chinese historical bottom life and all of his emotion.
ChapterⅡ-ChapterⅣ:characters pedigree:A detailed analysis of the characters of peasants, Zhiqing and "wise-intellectuals" in Han's works. Although the above three works are different from the traditional novels which focus on shaping characters and creating plot, Hanshaogong created lots of vivid and meaningful characters. There are three kinds: one is peasants. Hanshaogong keeps concerning about peasants. He has been revealing peasants'hard fate, passionately describing their pure humanity, and bluntly criticizing their stupid habit all through his works, especially in the works of 1990s as "The Dictionary of Maqiao" and "South To Mountain North To Water". They fully reflect Han's deep understanding of peasants, his hot emotions and serious undertakings. Farmer groups beneath his pen originate Luxun's folk literature of 1930s, relay literature of countryside since the New Era, and are surely going to take a very important seat in history of Chinese contemporary literature. The second kind character is "Zhiqing", represented by the long essay series of "Hint" published in 2000 and middle novel of "Brothers" published in 2001. In these novels, Hanshaogong created a series of vivid character of "Zhiqing" with surprising calm and objective feeling and deep compassion. He wrote post-Zhiqing life of "Zhiqing"-their fate and ideological change after Chinese reforming and opening in the new century, as well as their ability-life of "Zhiqing". He described their inspired times, but didn't avoid their splitting and failure. His narrative of "Zhiqing" added new faces to his own literary character gallery, as well as to the "Zhiqing" figures gallery in Chinese contemporary literature. The third kind is "wise intellectuals" Hanshaogong created a group of "wise intellectuals" in his prose, novels and essays since 1990s. Most of them are intellectual elites who get fame by unusual or even despicable means. They are knowledge recorder, feeling extremely inferior before foreigners while extremely superior before their countrymen. Vanity, selfishness, benefits-pursuing and calculativeness which rooted in Chinese intellectuals produce this kind of persons. And they reflects the massive collapse, decadence and shamelessness of Chinese intelligentsia. Han's revealing wise intellectuals'sickness and enquiring their soul is spiritually originated from "intellectual criticism of Luxun and Kundera's theory.
Chapter V:stylistic exploration. Since 1990s, Hanshaogong explored the style self-consciously and continuously in his creation. The main features of this stylistic exploration are cross-boundary, mixture and paragraphic style. His writing in this period is a writing of cross-boundary or cross-style. This cross-boundary has two paths:one is turning from novel to prose. Han created lots of thought essays and landscape notes in a period; the other path is cross the two styles of novel and prose, breaking down the barriers, fostering a Hanshaogong-style prose-novel, or say, novelized prose. Another thing Han explored was mixing a lot of elements of philosophy, narrative and lyric, etc. He adopted the way of narrating followed by commenting; commenting followed by narrating or mix narrating and commenting, forming a Han's style which has good story and comments, clear characters and deep thought. Furthermore, he also linked the boundary of long and short works by adopting scattering structure, series narrative, free combination, eye of the first-person, creating series long works which is separate and associated, seemingly unrelated but actually logically coherent, in a way of following one theme, linking characters and independent articles. Sense and sensibility, paragraph and whole are an organic unity. Generally evaluating, Hanshaogong's stylistic exploration in this period got very important achievements and experience, but also left questionable cases.
Chapter VI:Art of thinking analyzing Hanshaogong's art feature of congregating perceptual thinking, rational thinking and wizard thinking.. Hanshaogong's creation pursues sense presentation lightening under sensation, which bases on sensation, and focus on sense, finding the balance. He narrates within perception, injects feeling into thought, and unites philosophic thinking and image. Reading his "South to Mountain North to Water" is a party of percepion as well as a travel of thought. You see scenery of flowers and trees, and feel pleasure from mind to heart. Besides, Hanshaogong is a rationalist, yet he has been preferred to supernatural, unusual, mysterious and absurd things. He could be an animist, a nature worshiper, and even a mystic.'Dad Dad Dad" and "Daughter Daughter Daughter", "Blue Cover", "Dictionary of Maqiao", "Hint" and "South to Mountain North to Water" all have these features. We could say that Hanshaogong created a wizard world that based in Maqiao, according to folklore and his personal experience. Han's wizard thinking comes from three aspects:one is the widely-accepted animist thinking in the world of Maqiao. The second is the wizard tradition of Hunan literature. There is a tradition of mysterious and pretty wizard poetry in Hunan contemporary, from Quyuan to Shenchenwen and Sunjianzhong, Caicehai, Canxue, Yemeng. The third one is Hanshaogong's personal literary tastes and culture pursuit. His strong interest in folk culture, bottom level society and countryside legend determined the wizard feature in his creation.
ChapterⅦ:Life Orientation. Mainly reads the cultural meaning of Hanshaogong's seasonal moving to Miluo. Han's moving to Miluo in 2000 has great symbolic significance, although it was short-term and seasonal. It marks return to village of a metropolitan individual, to homeland of a stranger, to common life of an intellectual. The return to Miluo of him is absolutely not a simple imitation of Taoyuanming, but a practical choosing with clear sensation. What he pursue is the balance between nature and civilization, while beyond the simple pastoral doctrine and progressive. He rethinks city but does not rejects civilization; he return to nature, but by no means becomes a hermit; he lives among the public but disagree with ignorance; he criticizes intellectuals but does not follow populism. Hanshaogong's life choice sets a benchmark and paradigm for Chinese intellectuals to be one who has conscience, "spirit of independence and thought of freedom" in the time of turning and globalization.
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1《长篇小说与文化母题》第103页.
1最后的“地之子”[N].文汇读书周报,2010-3-19.
1与记者芳菲的对话,见2007年1月25日《南方周末》。
2《韩少功、孔见对话录》,《韩少功评传》,河南人民出版社2008年版226页。
1贺仲明.《文化纠结中的深入与迷茫——论韩少功的创作精神及其文学意义》,《文学评论》2007年第5期.
1舒晋瑜.希望知识分子更优秀一些——访韩少功[N].中华读书报,2002-9-25.
1李静,韩少功.养鸡种菜写小说[N].北京娱乐信报,2002-9-19.
1见《韩少功系列·大题小作》中的《怎么赚钱》,一篇以通俗语言启发农民过健康生活的杰作。人民文学出版社2008年5月版.
1俞可平.现代化进程中的民粹主义[N].日光明网， 2007-1-11.
[1]《中国作家系列·韩少功系列》,人民文学出版社,2008.
[2]《韩少功文库》[M].山东文艺出版社,2001.
[3]韩少功.马桥词典[M].作家出版社,1996.人民文学出版社,2004.
[4]韩少功.暗示[M].人民文学出版社2002.
[5]韩少功.山南水北[M].作家出版社,2006.
[6]韩少功.大题小作[M].湖南文艺出版社,2005.
[7]《鲁迅全集》[M].人民文学出版社,1991.
[8]《沈从文全集》[M].北岳文艺出版社,2002.
[9]《沈从文别集》[M].岳麓书社,1995.
[10]何言宏,杨霞.坚持与抵抗：韩少功[M].上海文艺出版社,2005.
[11]孔见.韩少功评传[M].河南文艺出版社,2008.
[12]廖述务编.韩少功研究资料[M].天津人民出版社,2008.
[13]吴义勤编.韩少功研究资料(乙种)[M].山东文艺出版社,2006.
[14]凌宇.从边城走向世界[M].岳麓书社,,2006.
[15]谭桂林.长篇小说与文化母题[M].湖南师范大学出版社,2002.
[16]罗宗宇.沈从文思想研究[M].湖南大学出版社,2008.
[17]米兰·昆德拉.小说的艺术[M].谭立德译,社会科学文献出版社,1999.
[18]米兰·昆德拉.生命中不能承受之轻[M].作家出版社,1995.
[19]定宜庄.中国知青史：初澜(1953-1968)[M].当代中国出版社,2009.
[20]刘小萌.中国知青史：大潮(1966-1980)[M].当代中国出版社,2009.
[21]梁明雅.从“词典”到“象”典——韩少功小说的语言哲学阐释[D].敏思博客,2008年7月15日.
[22]贺仲明.文化纠结中的深入与迷茫——论韩少功的创作精神及其文学意义.[J].文学评论,2009(5).
1韩少功研究资料(序)[M].天津人民出版社,2008.
2中国作家系列·韩少功系列(自序)[M].人民文学出版社,2008.
1中国作家系列·韩少功系列：在后台的后台[M].人民文学出版社,2008：278.
2中国作家系列·韩少功系列：在后台的后台[M].人民文学出版社,2008：280.
1沈从文.凤子《沈从文文集》(第四卷)[M].北岳文艺出版社,2002：361.
1关于这一点,凌宇、罗宗宇分别在其《从边城走向世界》(岳麓书社2006年4月第1版)和《沈从文思想研究》(湖南大学出版社2008年12月第1版中做了较为深入的分析。
1南方的自由——韩少功系列·在小说的后台[M].山东文艺出版社,2001：55.
2南方的自由——韩少功系列·在小说的后台[M].山东文艺出版社,2001：55-56.
1韩少功.《韩少功系列·暗示》《<暗示>台湾版序》, [M].人民文学出版社,2008：395.
2穿行在海岛和山乡之间——韩少功系列·大题小作[M].人民文学出版社,2008：136-137.
1本论文所引《马桥词典》,均为人民文学出版社2004年5月版,每次引用只标篇名,未注页码。
2本论文所引《暗示》,除特别注明者外,均为人民文学出版社2002年9月版,每次引用只标篇名,未注页码。
1马珂.与韩少功谈心[N].深圳商报,2003-3-28.
1韩少功,何言宏,杨霞著.坚持与抵抗[M].上海人民出版社,2005：217.
1韩少功读本[M].花山文艺出版社,2002：332.
1《理想的、或非理想的生活》,《韩少功系列·山南水北·附录》,人民文学出版社,2008：290.
1定宜庄.北京：当代中国出版社,2009.
2刘小萌.北京：当代中国出版社,2009.
3潘鸣啸著,欧阳因译.香港中文大学出版社,2008.
1本论文所引《大题小作》,除特别注明者外,均引自湖南文艺出版社2005年5月第1版,只标篇名,未注页码。
1《门外文谈》,鲁迅全集(卷六)[M].人民文学出版社,1981.
1《“题未定”草(一至三)》,《鲁迅全集(卷六)[M].人民文学出版社,1981.
1《二丑艺术》,《鲁迅全集》(卷五)[M].人民文学出版社,1981.
1小说的艺术[M].社会科学文献出版社,1999.
2韩少功，韩刚译.生命中不能承受之轻[M].作家出版社,1995：269.
1《生命中不能承受之轻》,第275页.
2同上,第276页.
3同上,第277页.
1《韩少功系列·暗示·附录四》,人民文学出版社,2008：395.
2蔡翔.日常生活：退守还是重新出发——有关韩少功<暗示>的阅读笔记[M].文学评论,2003(4).
3余杰.拼贴的印象,疲惫的中年[J].文艺争鸣,2003(1).
4杨扬.<暗示>：一次失败的文体试验[N].文汇报,2002-12-21.
⑤李建军,自由的边界[J],小说评论,2003[2]
①韩少功：我的写作是“公民写作”[N].南方周末,2002-10-24
1以上均见《穿行在海岛和山乡之间》,《韩少功系列·大题小作》,人民文学出版社2008年5月版第136-137页.
2《文体与精神分裂症》,《韩少功系列·在后台的后台》,人民文学出版社2008年5月版第341-342页.
3关于<马桥词典>的对话》,《韩少功系列·马桥词典》,人民文学出版社2008年版附录.
1李渔.《闲情偶寄·词曲部·结构第一》.
1王蒙.道是词典还小说[J].读书,1997(1).
2邓晓芒.灵魂之旅[M].湖北人民出版社,1998：87.
3谭桂林.长篇小说与文化母题[M].湖南师大出版社,2002：90.
1谭桂林.长篇小说与文化母题[M].湖南师范大学出版社,2002：102.
1《长篇小说与文化母题》第103页.
1最后的“地之子”[N].文汇读书周报,2010-3-19.
1与记者芳菲的对话,见2007年1月25日《南方周末》。
2《韩少功、孔见对话录》,《韩少功评传》,河南人民出版社2008年版226页。
1贺仲明.《文化纠结中的深入与迷茫——论韩少功的创作精神及其文学意义》,《文学评论》2007年第5期.
1舒晋瑜.希望知识分子更优秀一些——访韩少功[N].中华读书报,2002-9-25.
1李静,韩少功.养鸡种菜写小说[N].北京娱乐信报,2002-9-19.
1见《韩少功系列·大题小作》中的《怎么赚钱》,一篇以通俗语言启发农民过健康生活的杰作。人民文学出版社2008年5月版.
1俞可平.现代化进程中的民粹主义[N].日光明网， 2007-1-11.
[1]《中国作家系列·韩少功系列》,人民文学出版社,2008.
[2]《韩少功文库》[M].山东文艺出版社,2001.
[3]韩少功.马桥词典[M].作家出版社,1996.人民文学出版社,2004.
[4]韩少功.暗示[M].人民文学出版社2002.
[5]韩少功.山南水北[M].作家出版社,2006.
[6]韩少功.大题小作[M].湖南文艺出版社,2005.
[7]《鲁迅全集》[M].人民文学出版社,1991.
[8]《沈从文全集》[M].北岳文艺出版社,2002.
[9]《沈从文别集》[M].岳麓书社,1995.
[10]何言宏,杨霞.坚持与抵抗：韩少功[M].上海文艺出版社,2005.
[11]孔见.韩少功评传[M].河南文艺出版社,2008.
[12]廖述务编.韩少功研究资料[M].天津人民出版社,2008.
[13]吴义勤编.韩少功研究资料(乙种)[M].山东文艺出版社,2006.
[14]凌宇.从边城走向世界[M].岳麓书社,,2006.
[15]谭桂林.长篇小说与文化母题[M].湖南师范大学出版社,2002.
[16]罗宗宇.沈从文思想研究[M].湖南大学出版社,2008.
[17]米兰·昆德拉.小说的艺术[M].谭立德译,社会科学文献出版社,1999.
[18]米兰·昆德拉.生命中不能承受之轻[M].作家出版社,1995.
[19]定宜庄.中国知青史：初澜(1953-1968)[M].当代中国出版社,2009.
[20]刘小萌.中国知青史：大潮(1966-1980)[M].当代中国出版社,2009.
[21]梁明雅.从“词典”到“象”典——韩少功小说的语言哲学阐释[D].敏思博客,2008年7月15日.
[22]贺仲明.文化纠结中的深入与迷茫——论韩少功的创作精神及其文学意义.[J].文学评论,2009(5).