心灵的皈依：在异乡与历史之间
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摘要
新历史主义作为西方文学批评理论中的一个重要流派,对传统的历史观和历史题材的创作理念都产生了重要的影响,它是一种不同于旧历史主义和形式主义批评的“新”的文学批评方法。新历史主义认为历史不是一种客观存在,它取决于历史“阐释者”主观立场的“历史叙述”或“历史修撰”,是修辞的灵活运用和语言结构的叙事构型。这一理念促使了在观念、方法、实践上的文史融和,也使得“阐释者”拥有运用自己的话语,对历史实施自己的构建成为可能。
借助这一理论,我们发现赛珍珠是与其特定的历史时期密切相联的,赛珍珠及其作品都是她所生活的时代的产物。研究赛珍珠,当然不能脱离当时特殊的历史语境。本文尝试将赛珍珠及其《大地》三部曲放在历史的范畴中考察,通过结合当时的历史语境,探究赛珍珠的主体性创作,分析其作品作为文本与历史之间的互文性对话关系,并研究其作品文本参与社会历史构建的积极意义。同时,在赛珍珠构筑的不同文化的历史空间中,我们也看到了赛珍珠对阶级、性别、国家/民族等不同文化的排他性和认同感,“自我”文化与“他者”文化的冲突与矛盾,社会与文本的权力关系,赛珍珠作品中或隐或显地反映出的意识形态等问题。拂去历史的尘埃,重温经典,透过王家的起伏变迁,再现20世纪初沧桑巨变、风雨欲来的旧中国,这正是这部宏篇史诗巨著的真正意义所在。
论文分为引言、正文和结语三个部分,包括六个章节。其中,正文分为四章。引言简要介绍了赛珍珠中国经历、文学成就、《大地》三部曲情节、国内外对赛珍珠的学术性研究成果。
第二章引申出此研究的理论视角新历史主义。新历史主义的出现是对旧历史主义、形式主义的非历史倾向的反击,它强调历史和意识形态批评,注重产生文学本文的历史语境。同时,新历史主义批评建构了历史再现与文本叙事的新型关系,即“文本的历史性”和“历史的文本性”的对话理念,这两点也是新历史主义批评的重要理论支柱。
第三章从赛珍珠作品与历史现实的相互影响、相互塑造、同时涌动的动态关系,作品与同时期中国本土文学的互文性对话的历史意义,王家迥异的三代人物的历史背景与内涵,王龙等人的土地情结及其历史外延等方面入手,探讨了赛珍珠作品历史性艺术构建的本质,旨在说明作品对当时历史现实的文本反映和历史性阐释。
第四章从赛珍珠的自传性因素、“双焦透视”、中国情结与心灵皈依、作品创作的主题与风格、文化窘境、人文宗教理念等角度出发,力图揭示赛珍珠在特定历史语境下的文学创作过程中,其历史构建与自我塑铸,主动和顺从性创作的双重主体性。透过赛珍珠的中西文化观,我们也力求寻找在文化碰撞和冲突中如何达成文化融合这样一个具有时代意义的问题。
第五章从赛珍珠作品的历史性阐释,向西方传播真实的中国,赛珍珠对中国小说的译介、推介、研究,以及赛珍珠在中国题材作品和农民史诗创作等方面的现实构建着手,综述了赛珍珠在促进中美异质文化交流方面所作出的历史性贡献,旨在说明文学与历史之间的互动关系,揭示文本参与意识形态和社会现实的历史构建的积极意义。
结语部分,再次肯定赛珍珠作品在特定历史语境下的文学创作及其文本的历史性价值,以及赛珍珠及其作品在异质文化交流方面的重要贡献,给予赛珍珠及其作品公正、客观的总结性的评价。
As one of the most important literary critical approaches in the twentieth century, new historicism exerts a very important impact on the traditional views of history and historical literary creation. No longer seeing history as an objective existence, new historicism maintains that history is recorded based on the“historical narration”or“historical composition”of the“interpreters,”who are able to construct histories by employing his or her own discourse.
From the perspective of new historicism, this paper attempts to evaluate Pearl Buck’s literary creation by placing Buck and House of Earth in the historical context, as no writer can get rid of his historical background. In other words, literature can not be isolated from history. The paper also“restores”Buck’s subjectivity, for example, her“dynamic”or“submissive”roles in her literary creation, and the“intertextual”relationship between House of Earth (as“text”) and“history,”and the participation of House of Earth in the historical construction of social reality. By presenting different historical characters of the Wangs in House of Earth, Buck displays how China undergoes tremendous changes and revolutionary storms in the early 20th century, which justifies the significance of the farmer’s epic.
This paper consists of six chapters, including an introduction, the body and a conclusion. The body is divided into four chapters. The part of introduction outlines Buck’s life experience in China and her literary achievements, a brief account of House of Earth, and the previous academic researches on Pearl Buck both at home and abroad. Chapter two presents the perspective of new historicism, which rises as a reaction against old historicism and formalism. Rather than seeing text as an independent study objective, new historicism resituates text into the historical context, and focuses on the role history plays in producing text. So, as follows, major theories of new historicism are introduced, namely,“the historicity of text”and“the textuality of history.”Chapter three pursues historicist and materialist concerns through the analysis of texts and intertextuality. The intertextual relationships between House of Earth and China’s reality, between the trilogy and the local Chinese literature, different historical characters in the trilogy and the earth complex are all probed in order to reveal the trilogy’s textual reflection and historical interpretation of the historical context. In chapter four, Buck’s autobiographic elements, her“bi-focal lens”perspective, her China complex and spiritual conversion, her writing theme and style, cultural dilemma, and humanistic religion are all explored to stress Buck’s dynamic and submissive roles in her literary creation. In chapter five, it mainly talks about Buck’s significant role in promoting the Sino-American cultural communication for the purpose of revealing the interactive relationship between text and history. In the conclusion, it re-confirms Buck’s historical role in the specific historical context, as well as Buck’s contribution in promoting the East-West cultural communication. A fair, objective and concluding remark is given to Buck and her works at its end.
借助这一理论,我们发现赛珍珠是与其特定的历史时期密切相联的,赛珍珠及其作品都是她所生活的时代的产物。研究赛珍珠,当然不能脱离当时特殊的历史语境。本文尝试将赛珍珠及其《大地》三部曲放在历史的范畴中考察,通过结合当时的历史语境,探究赛珍珠的主体性创作,分析其作品作为文本与历史之间的互文性对话关系,并研究其作品文本参与社会历史构建的积极意义。同时,在赛珍珠构筑的不同文化的历史空间中,我们也看到了赛珍珠对阶级、性别、国家/民族等不同文化的排他性和认同感,“自我”文化与“他者”文化的冲突与矛盾,社会与文本的权力关系,赛珍珠作品中或隐或显地反映出的意识形态等问题。拂去历史的尘埃,重温经典,透过王家的起伏变迁,再现20世纪初沧桑巨变、风雨欲来的旧中国,这正是这部宏篇史诗巨著的真正意义所在。
论文分为引言、正文和结语三个部分,包括六个章节。其中,正文分为四章。引言简要介绍了赛珍珠中国经历、文学成就、《大地》三部曲情节、国内外对赛珍珠的学术性研究成果。
第二章引申出此研究的理论视角新历史主义。新历史主义的出现是对旧历史主义、形式主义的非历史倾向的反击,它强调历史和意识形态批评,注重产生文学本文的历史语境。同时,新历史主义批评建构了历史再现与文本叙事的新型关系,即“文本的历史性”和“历史的文本性”的对话理念,这两点也是新历史主义批评的重要理论支柱。
第三章从赛珍珠作品与历史现实的相互影响、相互塑造、同时涌动的动态关系,作品与同时期中国本土文学的互文性对话的历史意义,王家迥异的三代人物的历史背景与内涵,王龙等人的土地情结及其历史外延等方面入手,探讨了赛珍珠作品历史性艺术构建的本质,旨在说明作品对当时历史现实的文本反映和历史性阐释。
第四章从赛珍珠的自传性因素、“双焦透视”、中国情结与心灵皈依、作品创作的主题与风格、文化窘境、人文宗教理念等角度出发,力图揭示赛珍珠在特定历史语境下的文学创作过程中,其历史构建与自我塑铸,主动和顺从性创作的双重主体性。透过赛珍珠的中西文化观,我们也力求寻找在文化碰撞和冲突中如何达成文化融合这样一个具有时代意义的问题。
第五章从赛珍珠作品的历史性阐释,向西方传播真实的中国,赛珍珠对中国小说的译介、推介、研究,以及赛珍珠在中国题材作品和农民史诗创作等方面的现实构建着手,综述了赛珍珠在促进中美异质文化交流方面所作出的历史性贡献,旨在说明文学与历史之间的互动关系,揭示文本参与意识形态和社会现实的历史构建的积极意义。
结语部分,再次肯定赛珍珠作品在特定历史语境下的文学创作及其文本的历史性价值,以及赛珍珠及其作品在异质文化交流方面的重要贡献,给予赛珍珠及其作品公正、客观的总结性的评价。
As one of the most important literary critical approaches in the twentieth century, new historicism exerts a very important impact on the traditional views of history and historical literary creation. No longer seeing history as an objective existence, new historicism maintains that history is recorded based on the“historical narration”or“historical composition”of the“interpreters,”who are able to construct histories by employing his or her own discourse.
From the perspective of new historicism, this paper attempts to evaluate Pearl Buck’s literary creation by placing Buck and House of Earth in the historical context, as no writer can get rid of his historical background. In other words, literature can not be isolated from history. The paper also“restores”Buck’s subjectivity, for example, her“dynamic”or“submissive”roles in her literary creation, and the“intertextual”relationship between House of Earth (as“text”) and“history,”and the participation of House of Earth in the historical construction of social reality. By presenting different historical characters of the Wangs in House of Earth, Buck displays how China undergoes tremendous changes and revolutionary storms in the early 20th century, which justifies the significance of the farmer’s epic.
This paper consists of six chapters, including an introduction, the body and a conclusion. The body is divided into four chapters. The part of introduction outlines Buck’s life experience in China and her literary achievements, a brief account of House of Earth, and the previous academic researches on Pearl Buck both at home and abroad. Chapter two presents the perspective of new historicism, which rises as a reaction against old historicism and formalism. Rather than seeing text as an independent study objective, new historicism resituates text into the historical context, and focuses on the role history plays in producing text. So, as follows, major theories of new historicism are introduced, namely,“the historicity of text”and“the textuality of history.”Chapter three pursues historicist and materialist concerns through the analysis of texts and intertextuality. The intertextual relationships between House of Earth and China’s reality, between the trilogy and the local Chinese literature, different historical characters in the trilogy and the earth complex are all probed in order to reveal the trilogy’s textual reflection and historical interpretation of the historical context. In chapter four, Buck’s autobiographic elements, her“bi-focal lens”perspective, her China complex and spiritual conversion, her writing theme and style, cultural dilemma, and humanistic religion are all explored to stress Buck’s dynamic and submissive roles in her literary creation. In chapter five, it mainly talks about Buck’s significant role in promoting the Sino-American cultural communication for the purpose of revealing the interactive relationship between text and history. In the conclusion, it re-confirms Buck’s historical role in the specific historical context, as well as Buck’s contribution in promoting the East-West cultural communication. A fair, objective and concluding remark is given to Buck and her works at its end.
引文
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