文学编辑家秦兆阳研究
发布时间：2018-09-10 15:56
【摘要】：在《人民文学》(1949-1957)和《当代》(1979-1994)从事编辑工作达20余年的编辑家秦兆阳是当代文学史研究不可跨越的典型个案。从作为编辑家、作家和文学批评家的身份角色和个体命运出发,将其置于社会文化发展的整体脉络之中,考量文学发展中编辑角色的创造性作用,分析编辑活动对文学生态优化与文学秩序维护的特有功能,能揭示出中国当代文坛在其政治、文化环境下的“话语场”：其中包含着文学与政治、主流意识形态与“创作异类”、编辑行为的文学干预与社会政治的文学控制等各方面的复杂关系,透现诸多复杂的文化信息；对探寻编辑活动在组织与引导文学生产,调控与把握文学消费,发现文学新生力量,开发文学可能性并实现其现实性转化等方面作用的新视域,寻求编辑主体、编辑活动和文学发展规律之间的相互关系,从另一角度思考特定时期的文学发展规律,具有重要意义。 秦兆阳具有传统知识分子的个性气质,更具有文学编辑家的启蒙精神。他本真自我的真实展现、自由精神的个性彰显、民间立场的合理表达,构建的编辑主体精神,无不书写了一个主体意识鲜明且个性丰满的文学编辑家形象。但秦兆阳的身份悖论显而易见,作为交织于传统与现代、政治规约与艺术自律之间的知识分子,其个体文化人格不可能不遭遇某种程度的分裂。秦兆阳的文学编辑生涯,为社会文化规约与文学艺术性之间的博弈,作出了生动的诠释。 秦兆阳身份的矛盾和痛苦是深层次的、隐在的。在社会的狂飙突进和政治的风暴面前,在历史的荣光与色彩面前,秦兆阳始终忠于自己的信仰,他歌颂生活,也直面尴尬,追求人民愿望和历史真实的表达,通过现实性、战斗性、开放性的现实主义理论和办刊追求,塑造了期刊的编辑理性。这种理性意识,是文化力量对秦兆阳身份的塑造。秦兆阳编辑身份的认同过程,正是在个体与政治激情和时代幻象的博弈之中,即在作家、编辑家和文学批评家三重角色的互动、整合的过程中形成的,是其文化人格的一种综合、复杂的表现形式。 编辑所需的文化精神凸显了时代文学的美学走向。秦兆阳始终强调多样性的文学形式,鼓励多元的艺术风格,突出作品的实际生活意义。通过在《人民文学》期间充满先锋和启蒙意味的探索与尝试,在《当代》期间的充满反思和沉重感的整合与开拓,秦兆阳延续了他的现实主义主张,并在其中深深烙上了其文化人格的色彩,当时代沉浮、个体历练两相叠加,所有的宠辱都渐行消退之后,秦兆阳的沉静、厚重及其处理政治与艺术关系过程中的中庸,与扛着改革开放大旗阔步前进的社会现状两相辉映,构建了一幅平衡传统与现代、厚重感与新鲜感的文化坐标,书写个人,畅想未来,更倾情家国,传承历史,顺应时代,朴素自然,真实感人。 秦兆阳具有鲜明的作者观。秦兆阳清楚地表明了其面对文化场域的不同规范与要求时和作者的相处方式：一是编辑和作者具有某个文化场域的共识,但却不得不接受文化场域某个方面的规约,这以秦兆阳编发《我们夫妇之间》、《组织部新来的青年人》等受到批判和被流放为代表；二是编辑和作者有着深度共鸣,外在力量成为传播和增加文化场域新质的推动力,当以秦兆阳编发《芙蓉镇》为代表；三是编辑和作者暂时未能取得共识,社会、文化场域与编辑主体的精神文化追求出现裂缝,这当以秦兆阳错失《九月寓言》为代表。受到社会文化场域的干扰,秦兆阳有坚持自己艺术理想、与作者共进退的勇气；当编辑和作者对文化场域理解产生分歧时,秦兆阳选择了自己作为编辑主体的价值判断与文化精神,坚守自己的文学主张。作为一个敢于担当社会场域和文化场域责任和使命感的编辑,秦兆阳只能在让渡自己部分主体性的同时,也让渡一部分作者的主体性,以达到在文化场域内编辑和作者的共同认可。在一定程度上,他选择了主体功能的退让,以获取文化和社会场域惯性的认可。从另外一个角度来说,这又是他获得主体性不得不选择的途径。 编辑与读者的关系是文学生态的一种隐匿层面。秦兆阳在办刊过程中,通过文学选择、编辑议程设置、读者期待视野的满足、读者需求的适应与提升等途径,不断开拓读者的阅读空间,从而实现文学期刊的传播功能,优化文学生产机制。读者的参与,使文学传播纳入显在的“作者一编辑—读者”和隐在的“读者—编辑—作者”的双向的循环体系之中。秦兆阳读者观实现的具体路径是：在《人民文学》时期,将“创作谈”、“编者的话”与文学批评文章灵活安排,吸引读者参与传播过程；在《当代》时期,则让读者参与到刊物评论与作品评奖之中。在处理编辑与读者“间距”时,秦兆阳的选择是清晰的：不超越现实主义的边界(既不教条主义,也不逾越到现代主义),也不跨越社会文化规范的尺度。如此,读者、编辑和作者,便能围绕文学的某个意义中心点,在社会文化场域里发现自我,理解他人,书写现实,品味历史。 秦兆阳的文学编辑生涯呈现为创作、理论和编辑3种不同的话语形态：即生活和文学创作实践中的艺术审美话语追求；理论升华和文学批评实践中的知识主体话语表达；文学传播和期刊编辑实践中的深层权力话语的言说。这分别影响了编辑主体及编辑行为之“美”、编辑主体及编辑行为之“真”、编辑主体及编辑行为之“善”。3种不同的话语形态,是秦兆阳编辑生涯中文化追求、编辑人生的话语方式,亦是当代文学史中不可回避的话题。秦兆阳在时代狂澜中尽力有效地实现文学的社会传播功能,塑造了一座可供自我检视的精神雕像。 秦兆阳的命运沉浮折射出了编辑主体精神的意义与编辑主体角色的“风险”,彰显出编辑正义对于文学发展举足轻重的意义。或顶风逆鳞发表《现实主义——广阔的道路》,或忠于艺术理想,发表“干预生活”的作品,或不愿意参加党内鸣放会……他以自己的编辑人生说明,编辑“风险”的存在和编辑正义的选择,是优化文学发展的必然路径。秦兆阳以坚定的编辑角色定位,在文化、消费、技术的新的时代气息面前,坚守现实主义文学传统,培育新生作家群体,弘扬期刊文化特色,书写了一段当代文学史上的佳话。
[Abstract]:Qin Zhaoyang, an editor in People's Literature (1949-1957) and Contemporary Literature (1979-1994) who has been engaged in editing for more than 20 years, is a typical case in the study of contemporary literary history. The creative role of editors in the exhibition and the special function of editorial activities in the optimization of literary ecology and the maintenance of literary order can reveal the "discourse field" of contemporary Chinese literary circles in their political and cultural environment, which includes literature and politics, mainstream ideology and "creative heterogeneity", literary intervention of editorial behavior and society. The complex relationship of political literary control and other aspects reveals a lot of complex cultural information; the new horizon of exploring the role of editorial activities in organizing and guiding literary production, regulating and grasping literary consumption, discovering new literary forces, exploiting literary possibilities and realizing their transformation into reality, seeks editorial subjects and editorial activities It is of great significance to consider the law of literary development in a particular period from another angle.
Qin Zhaoyang has the individuality temperament of traditional intellectuals and the enlightenment spirit of literary editors.His true self-expression,the individuality of free spirit,the reasonable expression of folk standpoint and the spirit of editorial subject all write the image of a literary editor with distinct subjective consciousness and full personality. The paradox of identity is obvious. As intellectuals interwoven with tradition and modernity, political conventions and artistic self-discipline, their individual cultural personality can not be separated to some extent.
The contradiction and pain of Qin Zhaoyang's identity are deep-seated and hidden. In the face of the social turbulence and political storm, in the face of the glory and color of history, Qin Zhaoyang has always been faithful to his beliefs. He praises life, but also faces embarrassment, pursuing the people's wishes and the true expression of history, through the reality, combat, open reality. The rationality of editors of periodicals is shaped by the theory of doctrine and the pursuit of running periodicals. This rationality is the shaping of the identity of Qin Zhaoyang by cultural forces. It is a complex and complex form of its cultural personality.
The cultural spirit needed by the editor highlights the aesthetic trend of the literature of the times. Qin Zhaoyang always emphasizes the diversified literary forms, encourages the diversified artistic styles, and stresses the practical significance of the works in life. In harmony and pioneering, Qin Zhaoyang continued his realistic proposition and branded his cultural personality deeply in it. After the ups and downs of the times and the superposition of individual experience, all the favors and humiliations gradually faded away, Qin Zhaoyang's calmness, gravity and the moderation in the process of dealing with political and artistic relations were striding forward with the banner of reform and opening up. The present social situation is a reflection of each other, constructing a cultural coordinate that balances tradition and modernity, a sense of depth and freshness, writing individuals, imagining the future, and loving the country, inheriting history, conforming to the times, simple and natural, realistic and moving.
Qin Zhaoyang has a distinct view of the author.Qin Zhaoyang clearly shows the way in which he and the author are in harmony when confronted with different norms and requirements of the cultural field. Newcomers such as the Youth are criticized and exiled as representatives; second, editors and writers have a deep resonance, and external forces have become the driving force to spread and increase the new quality of cultural fields, which should be represented by Qin Zhaoyang's editing and distributing Furong Town; third, editors and writers have not yet reached a consensus on the spirit of social, cultural fields and editorial subjects. Qin Zhaoyang has the courage to insist on his own artistic ideal and retreat with the author. When the editor and the author have different understandings of the cultural field, Qin Zhaoyang chooses himself as the editor's value judgment and cultural spirit. As an editor who dares to shoulder the responsibility and mission of social and cultural fields, Qin Zhaoyang can only transfer part of his own subjectivity, but also part of the author's subjectivity, in order to achieve the common recognition of the editor and the author in the cultural field. To a certain extent, he chose the subject merit. In other words, this is the way he has to choose to gain subjectivity.
The relationship between the editor and the reader is a hidden aspect of the literary ecology.Qin Zhaoyang, in the course of running a periodical, has constantly opened up the reader's reading space by means of literary choice, editorial agenda setting, the satisfaction of readers'expectation horizon and the adaptation and promotion of readers' needs, thus realizing the dissemination function of literary periodicals and optimizing the literary production mechanism. Qin Zhaoyang's view of readers is realized through the flexible arrangement of "writing talk", "editor's words" and literary criticism articles in the period of "people's literature" to attract readers. In dealing with the "distance" between editors and readers, Qin Zhaoyang's choice is clear: not beyond the boundaries of realism (neither dogmatism nor modernism), nor beyond the standards of social and cultural norms. Editors and writers can discover themselves, understand others, write reality and taste history in the social and cultural field around a certain point of literary significance.
Qin Zhaoyang's career as a literary editor takes on three different discourse forms: the pursuit of artistic aesthetic discourse in life and literary creation practice; the expression of knowledge subject discourse in theoretical sublimation and literary criticism practice; the discourse of deep power in literary dissemination and periodical editing practice. Three different discourse forms are the cultural pursuit of Qin Zhaoyang's editorial career, the discourse mode of his editorial life and the unavoidable topic in the history of contemporary literature. It effectively realizes the social communication function of literature, and creates a spiritual statue for self inspection.
The fate of Qin Zhaoyang reflects the significance of the editor's subjective spirit and the "risk" of the editor's subjective role, revealing the significance of editorial justice for the development of literature. Ming Fang Club. He explained with his own editorial life that the existence of editorial "risk" and the choice of editorial justice are the inevitable way to optimize the development of literature. Qin Zhaoyang, with a firm position as an editor, adheres to the realist literary tradition in the face of the new era of culture, consumption and technology, fosters a new group of writers, and promotes the periodical culture. Features, wrote a good story in the history of contemporary literature.
【学位授予单位】：湖南师范大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：G232;I206.7
[Abstract]:Qin Zhaoyang, an editor in People's Literature (1949-1957) and Contemporary Literature (1979-1994) who has been engaged in editing for more than 20 years, is a typical case in the study of contemporary literary history. The creative role of editors in the exhibition and the special function of editorial activities in the optimization of literary ecology and the maintenance of literary order can reveal the "discourse field" of contemporary Chinese literary circles in their political and cultural environment, which includes literature and politics, mainstream ideology and "creative heterogeneity", literary intervention of editorial behavior and society. The complex relationship of political literary control and other aspects reveals a lot of complex cultural information; the new horizon of exploring the role of editorial activities in organizing and guiding literary production, regulating and grasping literary consumption, discovering new literary forces, exploiting literary possibilities and realizing their transformation into reality, seeks editorial subjects and editorial activities It is of great significance to consider the law of literary development in a particular period from another angle.
Qin Zhaoyang has the individuality temperament of traditional intellectuals and the enlightenment spirit of literary editors.His true self-expression,the individuality of free spirit,the reasonable expression of folk standpoint and the spirit of editorial subject all write the image of a literary editor with distinct subjective consciousness and full personality. The paradox of identity is obvious. As intellectuals interwoven with tradition and modernity, political conventions and artistic self-discipline, their individual cultural personality can not be separated to some extent.
The contradiction and pain of Qin Zhaoyang's identity are deep-seated and hidden. In the face of the social turbulence and political storm, in the face of the glory and color of history, Qin Zhaoyang has always been faithful to his beliefs. He praises life, but also faces embarrassment, pursuing the people's wishes and the true expression of history, through the reality, combat, open reality. The rationality of editors of periodicals is shaped by the theory of doctrine and the pursuit of running periodicals. This rationality is the shaping of the identity of Qin Zhaoyang by cultural forces. It is a complex and complex form of its cultural personality.
The cultural spirit needed by the editor highlights the aesthetic trend of the literature of the times. Qin Zhaoyang always emphasizes the diversified literary forms, encourages the diversified artistic styles, and stresses the practical significance of the works in life. In harmony and pioneering, Qin Zhaoyang continued his realistic proposition and branded his cultural personality deeply in it. After the ups and downs of the times and the superposition of individual experience, all the favors and humiliations gradually faded away, Qin Zhaoyang's calmness, gravity and the moderation in the process of dealing with political and artistic relations were striding forward with the banner of reform and opening up. The present social situation is a reflection of each other, constructing a cultural coordinate that balances tradition and modernity, a sense of depth and freshness, writing individuals, imagining the future, and loving the country, inheriting history, conforming to the times, simple and natural, realistic and moving.
Qin Zhaoyang has a distinct view of the author.Qin Zhaoyang clearly shows the way in which he and the author are in harmony when confronted with different norms and requirements of the cultural field. Newcomers such as the Youth are criticized and exiled as representatives; second, editors and writers have a deep resonance, and external forces have become the driving force to spread and increase the new quality of cultural fields, which should be represented by Qin Zhaoyang's editing and distributing Furong Town; third, editors and writers have not yet reached a consensus on the spirit of social, cultural fields and editorial subjects. Qin Zhaoyang has the courage to insist on his own artistic ideal and retreat with the author. When the editor and the author have different understandings of the cultural field, Qin Zhaoyang chooses himself as the editor's value judgment and cultural spirit. As an editor who dares to shoulder the responsibility and mission of social and cultural fields, Qin Zhaoyang can only transfer part of his own subjectivity, but also part of the author's subjectivity, in order to achieve the common recognition of the editor and the author in the cultural field. To a certain extent, he chose the subject merit. In other words, this is the way he has to choose to gain subjectivity.
The relationship between the editor and the reader is a hidden aspect of the literary ecology.Qin Zhaoyang, in the course of running a periodical, has constantly opened up the reader's reading space by means of literary choice, editorial agenda setting, the satisfaction of readers'expectation horizon and the adaptation and promotion of readers' needs, thus realizing the dissemination function of literary periodicals and optimizing the literary production mechanism. Qin Zhaoyang's view of readers is realized through the flexible arrangement of "writing talk", "editor's words" and literary criticism articles in the period of "people's literature" to attract readers. In dealing with the "distance" between editors and readers, Qin Zhaoyang's choice is clear: not beyond the boundaries of realism (neither dogmatism nor modernism), nor beyond the standards of social and cultural norms. Editors and writers can discover themselves, understand others, write reality and taste history in the social and cultural field around a certain point of literary significance.
Qin Zhaoyang's career as a literary editor takes on three different discourse forms: the pursuit of artistic aesthetic discourse in life and literary creation practice; the expression of knowledge subject discourse in theoretical sublimation and literary criticism practice; the discourse of deep power in literary dissemination and periodical editing practice. Three different discourse forms are the cultural pursuit of Qin Zhaoyang's editorial career, the discourse mode of his editorial life and the unavoidable topic in the history of contemporary literature. It effectively realizes the social communication function of literature, and creates a spiritual statue for self inspection.
The fate of Qin Zhaoyang reflects the significance of the editor's subjective spirit and the "risk" of the editor's subjective role, revealing the significance of editorial justice for the development of literature. Ming Fang Club. He explained with his own editorial life that the existence of editorial "risk" and the choice of editorial justice are the inevitable way to optimize the development of literature. Qin Zhaoyang, with a firm position as an editor, adheres to the realist literary tradition in the face of the new era of culture, consumption and technology, fosters a new group of writers, and promotes the periodical culture. Features, wrote a good story in the history of contemporary literature.
【学位授予单位】：湖南师范大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：G232;I206.7
【参考文献】
相关期刊论文 前10条
1 陈世旭;迟到的悼念——怀念秦兆阳老师[J];中国编辑;2005年01期
2 何启治;;“休云编者痴,我识其中味!”——秦兆阳谈文学编辑工作[J];编辑之友;1986年03期
3 yなば，
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