功利与审美的交光互影：1895-1916中国文论研究
发布时间：2018-09-05 21:03
【摘要】： 在政治的迫切需要和西学的不断引进下,自1895年起中国文论发生巨大变化,从此走上现代意义上的功利与审美之途。而1917年文学革命的发生,使文论又有了本质性的转变。本文的主要宗旨在于结合历史变革,对1895-1916年间功利与审美两种主要文学功用以具有代表性的文论家与流派为结构主线,对这一段时期的文学功用观的变化作一梳理并对其内容作详细论述,并以文学功用为契入点展现在西方文化强烈撞击下中国文论发生了怎样的变化。 绪论部分首先回顾中国传统文论中的文学功用观,在此基础上探寻文学功用观在1895年发生巨变的原因,并从形式、方法、目标、功能四个方面分析文论的各种变化,通过比较和分析得出文学功利性的定义。接着从史的角度对1895-1916年间的功用观做一简单勾勒。最后从内容、文学观念、形式三个方面交待论文为何结束于1916年。第一章对梁启超的功利性文学功用观作一论述。梁启超首先是政治家,其次才是文论家,这种身份决定了其文学思想服务于政治思想。他的文学功用观主要通过其小说理论体现。他借鉴西方国家变革的成功经验,大力倡导新小说,视小说为新民的工具,将小说从“小道”提升到“文学之最上乘”的位置。同时,他从接受者角度分析小说的艺术特征,但最终指向是为了说明小说是最适合开启民智的文体。故梁启超的文学功用观体现为较强的功利性。 第二章探讨“小说界革命”影响下小说理论的功利性。重视文学的社会作用是中国文论历来重视和强调的,与“文界革命”、“诗界革命”相比,“小说界革命”恰恰是从社会功用入手获得社会的最广泛认可,由此具有较强的功利性。综观1895-1916年小说期刊的发刊词,其宗旨可分为三类:一是承认小说具有巨大的社会功用,是唤醒国民、开通民智的重要工具,二是以为小说具有审美性,是文学倾向于美的一种,三是主张小说有消遣、娱乐的功能。其中大部分期刊都持第一类宗旨,故主要体现为功利性。同时,维新派兴起的白话文运动,尽管得到有识之士的响应,但出现了实践与理论相脱节的现象。出于政治目的发动的白话文运动功利性极强,而它的不彻底性与其政治功利密切相关。 第三章以林纾的小说理论为主要研究对象。林纾的小说功用观主要有两方面,一是希望通过域外小说唤起国民的爱国之心,二是欲借西方文学的经验推动中国文学的发展。受知识结构的限制,林纾以以中观西的角度对西方小说作阐释,在阐释中又带有中西比较的成分在内。他翻译的小说影响了一大批年轻作家的成长,但主要受益的是对外国小说形式、风格等,相对忽略了林纾对小说社会功用的初衷。总体而言,林纾对小说社会功用的重视和对小说本体的探索都没有体现现代意义上的功利与审美,他的小说功用观是对传统功利与审美的回归。 第四章的主要内容是王国维的审美功用观。王国维反对将文学视为政治的工具,在扎根于中国传统文化的土壤中吸收西方近代美学思想,提出了“无用之用”的文学观,认为文学是没有功利的,无用并非真正没有用处,它只是按实用角度讲不能直接见效于社会。他的“无用之用”是指“超出乎利用之范围”的审美功用,是要放弃利害关系获得最纯粹的快乐。他与蒋智由同年引进西方悲剧理论,但前者注重审美性,后者侧重功利性。他的悲剧观贯彻的是其“无用之用”思想。从事文学研究时的王国维强烈反对文学为政治服务,坚持文学的独立性,其“无用之用”是一种文学审美观。 第五章为革命派的文学功用观。在文学和人生的关系问题上,革命派的理解要比维新派的全面客观,认为文学是社会的反映,它来源于社会但对社会起极大的推动作用。同时,还积极引进西方美学理论来分析中国文学或重视文学本体特征,其主要代表人物是徐念慈、黄人、黄世仲和黄伯耀等。徐念慈主要引进黑格尔美学思想分析小说的审美特性,认为只有符合理想美学、感情美学方为最上乘小说。黄人于1904年编《中国文学史》时就明确指出文学是美的一部分,并在维新派一味视小说为开启民智的工具的浪潮中,在1907年敢于发出小说是文学倾向于美的一种的呼喊。黄世仲、黄伯耀兄弟虽没有借用西方美学解读中国小说,但他们肯定中国古典小说的成就,并从主题、创作风格、形式等角度对小说的艺术特征作了详细的论述。总之,革命派承认小说的社会功用,又注重小说的审美性,他们的文学功用观体现为审美与功利的兼顾。 第六章对国粹派的文学功用观作一分析。国粹派以“发明国学,保存国粹”为宗旨以期发扬国学精神,所以他们的文学功用在对古代文学的整理和挖掘中体现并带有功利色彩。其在文学领域的代表人物是章太炎、刘师培和金天翮,功用观各有特色,但他们都注重文学的社会作用并也重视文学的形式、风格等,一旦考虑到现实时就偏向于社会功用。学术与革命使他们的文学功用观充满矛盾性,逡巡于审美与功利之间。 第七章的考察对象为鲁迅早期的文学功用观。鲁迅在弃医从文之前就注重文学的功用了,从文学的功利性到文学的审美性,在梁启超、尼采、章太炎等思想的影响下,最终形成了“不用之用”的文学功用观,其基本要义是文学给予人以情感上的愉悦,在此过程中使人不知不觉地受教育和启发,最终使人的精神得以改变。“不用之用”与“无用之用”有本质区别,它集审美与功利于一身,是审美与功利的协调。 第八章探讨蔡元培早期的美育思想。1916年前为蔡元培美育思想的早期阶段。蔡元培继承中国传统文化中的致用精神,并汲取康德美学思想中的超功利性与普遍性,于1912年提出了自己的美育思想,以审美的手段实现功利目的。他和王国维都把美育视为审美与功利的统一体,却存在差异性。他后期的美育思想可以从早期美育思想中找到源头。最后从社会背景和自身属性角度对王国维、蔡元培的美育思想进行述评。 结语从审美与功利角度将1895-1916年中国文论的主要特征概括为广纳西学、重视文学与社会的关系、小说至上、借助教育启蒙和关注人之本身等五方面。
[Abstract]:With the urgent need of politics and the constant introduction of Western learning, great changes have taken place in Chinese literary theory since 1895, and since then it has embarked on the road of utilitarianism and aesthetics in the modern sense. The occurrence of the literary revolution in 1917 has brought about a fundamental change in literary theory. The representative literary theorists and schools with their main literary functions as the main line of the structure, this paper combs out the changes of literary functions in this period and discusses their contents in detail, and shows how the Chinese literary theory has changed under the strong impact of Western culture.
The introduction first reviews the concept of literary function in Chinese traditional literary criticism, and then explores the reasons for the dramatic change of the concept of literary function in 1895. It analyzes the changes of literary theory from four aspects: form, method, goal and function, and then draws the definition of literary utility through comparison and analysis. The first chapter discusses Liang Qichao's utilitarian literary function view. Liang Qichao is first a politician, then a literary critic. This identity determines that his literary thought serves political thought. He borrowed the successful experience of the western countries, advocated the new novel vigorously, regarded the novel as the tool of the new people, promoted the novel from the "path" to the "literary supremacy" position. At the same time, he analyzed the artistic characteristics of the novel from the perspective of the recipient, but ultimately pointed out that the novel is the most appropriate. Liang Qichao's literary function view embodies strong utilitarianism.
The second chapter discusses the utilitarianism of the novel theory under the influence of the "novel revolution". Emphasizing the social role of literature has always been emphasized in Chinese literary theory. Compared with the "literary revolution" and "poetry revolution", the "novel revolution" is the most widely recognized social function, and therefore has a strong utilitarianism. From 1895 to 1916, the purpose of the publications of fiction periodicals can be divided into three categories: first, to admit that fiction has great social function, is an important tool to awaken the people and open up the people's wisdom; second, to think that fiction is aesthetic, is a kind of literature inclined to beauty; third, to advocate that fiction has the function of recreation and entertainment. At the same time, the vernacular movement, which was launched for political purposes, was highly utilitarian, and its incompleteness was closely related to its political utility.
Chapter Three focuses on Lin Shu's novel theory. Lin Shu's view of novel function mainly has two aspects: one is to arouse the patriotism of the people through extraterritorial novels; the other is to promote the development of Chinese literature through the experience of Western literature. His translation of novels has influenced the growth of a large number of young writers, but it mainly benefits from the form and style of foreign novels, and neglects Lin Shu's original intention of social function of novels. Embodying the utilitarian and aesthetic values in the modern sense, his view on the utility of novels is a return to traditional utilitarianism and aesthetics.
The fourth chapter is about Wang Guowei's view of aesthetic function. He and Jiang Zhiyu introduced western tragedy theory in the same year, but the former emphasized aesthetics and the latter emphasized utilitarianism. Wang Guowei, who was engaged in literary research, strongly opposed literature serving politics and insisted on the independence of literature.
The fifth chapter is the view of literary function of the revolutionaries. On the issue of the relationship between literature and life, the revolutionaries have a more comprehensive and objective understanding than the reformists. They believe that literature is the reflection of society, which originates from society but plays a great role in promoting society. At the same time, they also actively introduce western aesthetic theory to analyze Chinese literature or attach importance to the characteristics of literary ontology. Xu Nianci, Huang Shizhong and Huang Boyao are the main representatives of Zheng. Xu Nianci mainly introduces Hegel's aesthetic thought to analyze the aesthetic characteristics of the novel. He thinks that only the ideal aesthetics is accorded with, and the emotional aesthetics is the best novel. Huang Shizhong and Huang Boyao brothers did not borrow western aesthetics to interpret Chinese novels, but they affirmed the achievements of Chinese classical novels and the artistic features of novels from the perspectives of themes, writing styles and forms. In a word, the revolutionaries acknowledge the social function of the novel and pay attention to the aesthetics of the novel. Their view of literary function embodies both aesthetic and utilitarian.
Chapter 6 makes an analysis of the literary function outlook of the Kuomintang School. The aim of the Kuomintang School is to "invent and preserve the quintessence of Chinese culture" in order to carry forward the spirit of Chinese culture. Therefore, their literary function is manifested in the collation and excavation of ancient literature with utilitarian color. They all attach importance to the social function of literature and the form and style of literature. Once they consider the reality, they are inclined to social function.
In the seventh chapter, the object of study is Lu Xun's early literary function view. Lu Xun paid attention to the literary function before he abandoned medicine and became a writer. From the literary utilitarianism to the literary aesthetics, under the influence of Liang Qichao, Nietzsche, Zhang Taiyan and other ideas, he finally formed the literary function view of "unnecessary use". Its basic meaning is that literature gives people feelings. Sensual pleasure, in this process, makes people unconsciously educated and inspired, and ultimately changes people's spirit.
The eighth chapter discusses Cai Yuanpei's early aesthetic education thought.It was the early stage of Cai Yuanpei's aesthetic education thought before 1916.Cai Yuanpei inherited the practical spirit of Chinese traditional culture and absorbed the super-utilitarianism and universality of Kant's aesthetic thought.He and Wang Guowei put forward his own aesthetic education thought in 1912 to realize the utilitarian purpose by aesthetic means. Both regard aesthetic education as the unity of aesthetics and utilitarianism, but there are differences. His later aesthetic education thoughts can be found in the early aesthetic education thoughts. Finally, from the social background and their own attributes, this paper comments on Wang Guowei's and Cai Yuanpei's aesthetic education thoughts.
The conclusion summarizes the main features of Chinese literary criticism from 1895 to 1916 in terms of aesthetics and utilitarianism as five aspects, namely, widening Naxi learning, attaching importance to the relationship between literature and society, putting fiction first, enlightening people by means of education and paying attention to people themselves.
【学位授予单位】：扬州大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I206.5
本文编号：2225453
[Abstract]:With the urgent need of politics and the constant introduction of Western learning, great changes have taken place in Chinese literary theory since 1895, and since then it has embarked on the road of utilitarianism and aesthetics in the modern sense. The occurrence of the literary revolution in 1917 has brought about a fundamental change in literary theory. The representative literary theorists and schools with their main literary functions as the main line of the structure, this paper combs out the changes of literary functions in this period and discusses their contents in detail, and shows how the Chinese literary theory has changed under the strong impact of Western culture.
The introduction first reviews the concept of literary function in Chinese traditional literary criticism, and then explores the reasons for the dramatic change of the concept of literary function in 1895. It analyzes the changes of literary theory from four aspects: form, method, goal and function, and then draws the definition of literary utility through comparison and analysis. The first chapter discusses Liang Qichao's utilitarian literary function view. Liang Qichao is first a politician, then a literary critic. This identity determines that his literary thought serves political thought. He borrowed the successful experience of the western countries, advocated the new novel vigorously, regarded the novel as the tool of the new people, promoted the novel from the "path" to the "literary supremacy" position. At the same time, he analyzed the artistic characteristics of the novel from the perspective of the recipient, but ultimately pointed out that the novel is the most appropriate. Liang Qichao's literary function view embodies strong utilitarianism.
The second chapter discusses the utilitarianism of the novel theory under the influence of the "novel revolution". Emphasizing the social role of literature has always been emphasized in Chinese literary theory. Compared with the "literary revolution" and "poetry revolution", the "novel revolution" is the most widely recognized social function, and therefore has a strong utilitarianism. From 1895 to 1916, the purpose of the publications of fiction periodicals can be divided into three categories: first, to admit that fiction has great social function, is an important tool to awaken the people and open up the people's wisdom; second, to think that fiction is aesthetic, is a kind of literature inclined to beauty; third, to advocate that fiction has the function of recreation and entertainment. At the same time, the vernacular movement, which was launched for political purposes, was highly utilitarian, and its incompleteness was closely related to its political utility.
Chapter Three focuses on Lin Shu's novel theory. Lin Shu's view of novel function mainly has two aspects: one is to arouse the patriotism of the people through extraterritorial novels; the other is to promote the development of Chinese literature through the experience of Western literature. His translation of novels has influenced the growth of a large number of young writers, but it mainly benefits from the form and style of foreign novels, and neglects Lin Shu's original intention of social function of novels. Embodying the utilitarian and aesthetic values in the modern sense, his view on the utility of novels is a return to traditional utilitarianism and aesthetics.
The fourth chapter is about Wang Guowei's view of aesthetic function. He and Jiang Zhiyu introduced western tragedy theory in the same year, but the former emphasized aesthetics and the latter emphasized utilitarianism. Wang Guowei, who was engaged in literary research, strongly opposed literature serving politics and insisted on the independence of literature.
The fifth chapter is the view of literary function of the revolutionaries. On the issue of the relationship between literature and life, the revolutionaries have a more comprehensive and objective understanding than the reformists. They believe that literature is the reflection of society, which originates from society but plays a great role in promoting society. At the same time, they also actively introduce western aesthetic theory to analyze Chinese literature or attach importance to the characteristics of literary ontology. Xu Nianci, Huang Shizhong and Huang Boyao are the main representatives of Zheng. Xu Nianci mainly introduces Hegel's aesthetic thought to analyze the aesthetic characteristics of the novel. He thinks that only the ideal aesthetics is accorded with, and the emotional aesthetics is the best novel. Huang Shizhong and Huang Boyao brothers did not borrow western aesthetics to interpret Chinese novels, but they affirmed the achievements of Chinese classical novels and the artistic features of novels from the perspectives of themes, writing styles and forms. In a word, the revolutionaries acknowledge the social function of the novel and pay attention to the aesthetics of the novel. Their view of literary function embodies both aesthetic and utilitarian.
Chapter 6 makes an analysis of the literary function outlook of the Kuomintang School. The aim of the Kuomintang School is to "invent and preserve the quintessence of Chinese culture" in order to carry forward the spirit of Chinese culture. Therefore, their literary function is manifested in the collation and excavation of ancient literature with utilitarian color. They all attach importance to the social function of literature and the form and style of literature. Once they consider the reality, they are inclined to social function.
In the seventh chapter, the object of study is Lu Xun's early literary function view. Lu Xun paid attention to the literary function before he abandoned medicine and became a writer. From the literary utilitarianism to the literary aesthetics, under the influence of Liang Qichao, Nietzsche, Zhang Taiyan and other ideas, he finally formed the literary function view of "unnecessary use". Its basic meaning is that literature gives people feelings. Sensual pleasure, in this process, makes people unconsciously educated and inspired, and ultimately changes people's spirit.
The eighth chapter discusses Cai Yuanpei's early aesthetic education thought.It was the early stage of Cai Yuanpei's aesthetic education thought before 1916.Cai Yuanpei inherited the practical spirit of Chinese traditional culture and absorbed the super-utilitarianism and universality of Kant's aesthetic thought.He and Wang Guowei put forward his own aesthetic education thought in 1912 to realize the utilitarian purpose by aesthetic means. Both regard aesthetic education as the unity of aesthetics and utilitarianism, but there are differences. His later aesthetic education thoughts can be found in the early aesthetic education thoughts. Finally, from the social background and their own attributes, this paper comments on Wang Guowei's and Cai Yuanpei's aesthetic education thoughts.
The conclusion summarizes the main features of Chinese literary criticism from 1895 to 1916 in terms of aesthetics and utilitarianism as five aspects, namely, widening Naxi learning, attaching importance to the relationship between literature and society, putting fiction first, enlightening people by means of education and paying attention to people themselves.
【学位授予单位】：扬州大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I206.5
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