中国马克思主义文学批评的民族观研究

发布时间：2018-06-28 01:41

  本文选题：马克思主义文学批评的中国形态 + 民族国家　； 参考：《华中师范大学》2015年博士论文

【摘要】：“民族”是近百年中国马克思主义文学批评的核心范畴之一,中国马克思主义文学批评所持的民族的立场、标准和观念,构成了它区别于经典、俄苏和西方等其他不同形态的马克思主义文学批评的一个重要特质。梳理、总结与反思百年中国马克思主义文学批评民族观的形成、演变过程及其具体内涵,在全球化新历史条件下拓展和建构当代中国马克思主义文学批评开放的民族观,是本文致力实现的研究目标。除绪论与结语外,本文分为四章,具体如下：第一章论述经典马克思主义文学批评与俄苏马克思主义文学批评的民族观,及在它们的影响下中国马克思主义文学批评民族观的形成。马克思主义经典作家在不同场合对民族国家的性质、特质、历史、立场、与国际主义的关系等作过论述。“民族”是一种现代的历史现象,共同的语言、共享的历史传统和相对明晰的活动疆域是现代民族质的规定性,民族国家与国际主义是辩证统一的,阶级视野下的批判性肯定是经典马克思主义文学批评对于民族总的立场。俄苏马克思主义文学批评发展了经典马克思主义文学批评的民族思想,进一步强调民族的历史性质和与资本主义的同构性。中国马克思主义文学批评的民族观对经典和俄苏马克思主义文学批评的接受从一开始便是具有主体意识的“研究、批评与决定”。救亡图存和民族主义是中国马克思主义文学批评民族观形成时的现实境遇与思想动力,民族性成为后者肯定性的价值诉求。第二章在西方马克思主义批评的参照下,梳理、总结和反思中国马克思主义文学批评民族观的演变及具体内涵。与西方马克思主义文学批评对于民族持讳莫如深、颇有微辞乃至尖锐批评的立场相异,从“民族主义文学”批判到“民族形式”论争,从延安文艺座谈会讲话到“文化革命”,从新时期到新世纪,民族是中国马克思主义文学批评一贯的立场、诉求和尺度。随历史条件和任务的变化,中国马克思主义文学批评对民族内涵的探求依次在“民族与阶级”、“民族与世界”、“民族和现代”三组命题中展开。首先,在民族与阶级的关系上,在阶级斗争空前尖锐的时代,民族文学必然具有阶级性,不同阶级具有不同的民族性,但并不是“只有”和“全然”是阶级性。肯定文艺的民族性,并不否定它同时具有阶级性,反之亦然。文艺的民族性和阶级性也有统一的一面,不同阶级有共同的民族性,民族与阶级相互转换为对方的话语表达。其次,在民族和世界的关系上,民族是“个别与普遍之统一的相关物”,民族性与世界性相互依存、对立统一。一方面,不存在脱离了民族性的世界性,世界性寓于民族性中,并通过民族性呈现出来；另一方面,民族性需要以世界性为坐标、视野和目的,特殊性不能割弃普遍性而存在。中国当代马克思主义文学批评既要反思各种文化特殊性论,也要反对虚妄的普遍主义文化立场,坚持以特殊性为基础并与普遍性相统一的民族性。第三,在民族与现代的关系上,民族是现代性的悖反,建设既是“民族的”又是“现代的”文学,是中国马克思主义文学批评的具体目标。在中国马克思主义文学批评中,民族性与现代性是矛盾统一的,具体体现于中国文学现代化与民族国家的同构关系、民族与个人的兼顾、批判地弘扬传统等方面。民族性与现代性既彼此包含,又相互对立。中国马克思主义文学批评不应蹈袭西方现代性,而应立足于社会主义文艺建设的中国经验,提出、探讨和发展自己的现代性命题。第三章论析全球化时代中国马克思主义文学批评坚持民族立场的可能性与积极意义,并批判地吸纳后殖民理论与国外当代马克思主义文学批评的民族观念。全球化不仅是资本主义物理空间的简单扩张,更是逻辑肌理的深刻渗透,去差异化-夷平和解域化-不可脱钩是全球化的主要文化逻辑。全球化猛烈冲击民族国家,但不会带来一个“后民族”时代,中国马克思主义文学批评坚持文学的民族差异性可以减缓甚至改变全球文化趋同化的进程。批判地检讨后殖民理论和国外当代马克思主义批评的民族观,是拓展中国马克思主义文学批评民族观的重要途径。后殖民理论肯定民族主义是摧毁殖民体系和重振文化的利器,认识到民族国家和文化建设、民族主义和帝国主义的同构性,解构和置换反殖民的民族主义的本质主义和二元论思维,强调民族的建构性、混杂性和非物质性,并为民族指明新人道主义和社会主义方向,然而也流露出浓烈的乌托邦气息,掩盖了民族间客观存在的物质压迫关系。国外当代马克思主义批评在民族问题上既肯定民族在反抗殖民统治、抵抗全球文化标准化的作用,又对它潜藏的种族主义、沙文主义因子,对于社会革命和人类解放而言是一种狭隘扭曲、异化的组织形式等表达了不满。鉴此,他们分别重释了民族的内涵,主要包括安德森“想象的共同体”、伊格尔顿和阿罕默德“个别与普遍之统一的相关物”、詹姆逊“自我和他者的关系概念”等论,这些新的民族论为中国马克思主义文学批评提供了有益启迪。第四章从个体观、传统及其弘扬观和主体性观三方面,建构全球化下中国马克思主义文学批评开放的民族观。在民族与个体的关系上,中国马克思主义文学批评一方面认为,在当前历史条件下,民族国家是“现实的个人”的基本社会关系和主要活动场所,在人类步入自由王国的历史前,民族国家为个人的合理权利、自由全面发展提供保障,民族需要在个体的坚持而非绕过中被超越和扬弃。另一方面,民族国家是人类历史活动的产物和“现实的个人”通向自由王国的途径手段,民族国家要尊重和保障“现实的个人”的合理权利、全面发展和自我实现的要求,但这种尊重和保障不是抽象、形式的,而应是具体、差异性的。中国马克思主义文学批评致力民族与个体的平衡统一,不能是此而废彼,但这种平衡统一不是绝对、静止的,而是在动态偏置中达成。民族以每一个体的实现为自身的实现,同时每一个体又在为民族的实现中获得自我的实现。共享的传统是民族的基本特质,中国马克思主义文学批评坚持开放的民族立场,需要科学地理解“传统”本身和规划“继承和弘扬”它的方式。传统是活着的过去、进展中的过程和在未来,是联结和贯穿民族过去、现在和未来的因素。“转换性创造”是中国马克思主义文学批评弘扬传统所主张的路径,传统只有经过转换,面对和解决新的民族文化经验才能得到真正地继承和弘扬。“转换性创造”不是以既定的西方现代价值为圭臬,其目的是“别立新宗”。甄别传统,稽查可转换的传统的原初和演变含义,批判和克服旧的传统,在应对民族现实问题中赋予旧传统以新的内涵,是“转换性创造”传统的具体步骤。传统只有经过创造性转换,才能成为民族文化创造的源头活水。民族主体性的确立系于他者,且是历史具体的,中国马克思主义文学批评树立和坚守民族文化的主体性,不能固守启蒙现代性的主客二分、先验、纯粹、内在、绝对、超历史的本质主体性论,而要标举一种向他者与历史开放的民族主体性论。民族文化的主体应在民族自我和他者的融合,从而创造新质的过程中确立。民族性是不同民族文化之间相互区分的依据,它是历史、具体、由人的实践所塑造、处于不停息地转化生成中的东西。由于民族的主体性是处于与他者结构关系和具体历史中的,因此它既不拒绝外来文化,也不固守某种固有不变的文化,而是推崇文化融合和超越创新,在创造自己的历史中凸显与他者的差异,在融合他者中推动自己的历史发展,从而使民族主体的关系结构和历史维度有机结合起来。
[Abstract]:"Nationality" is one of the core categories of the Chinese literary criticism of Marx's doctrine in the last hundred years. The standpoint, standard and concept of the nationalism held by Chinese Marx literary criticism constitute an important trait that distinguishes it from other different forms of literary criticism of Marx, such as the classics, Russia and the West. The formation, process and concrete connotation of the national view of Marx's literary criticism in China, expanding and constructing the national view of the contemporary Chinese Marx's literary criticism under the new historical conditions of globalization, is the aim of this article. In addition to the introduction and conclusion, this article is divided into four chapters: the first chapter is to discuss the classics The national view of the literary criticism of Canon Marx and the literary criticism of Russian and Soviet Marx doctrine, and the formation of the national view of Chinese Marx's literary criticism under their influence. The classic Marx writers have discussed the nature, character, history, position and internationalism of the national state on different occasions. A modern historical phenomenon, a common language, a shared historical tradition and a relatively clear territory of activity are the stipulations of the modern national quality, the national state and internationalism are dialectically unified. The criticism of the class view is definitely the standpoint of the classical Marx's literary criticism for the nation. The Russian Soviet Marx literary criticism The national thought of classical Marx literary criticism has been developed, and the historical nature of the nation and the isomorphism with capitalism are further emphasized. The acceptance of the classic and Russian Soviet Marx literary criticism by the national view of Marx's literary criticism in China is from the beginning to the "study, criticism and decision" with the consciousness of the main body. Drawing and nationalism are the realistic circumstances and ideological motive of the formation of the national view of Marx's literary criticism in China, and the national nature becomes the affirmative appeal of the latter. The second chapter, under the reference of Western Marx criticism, combs, summarizes and rethinks the evolution and concrete connotation of the national view of Marx's literary criticism in China. The literary criticism of Fang Marx's doctrine is different from the people who are very taboo, with quite a few words and even a sharp criticism. From the critique of "nationalist literature" to "national form", from the Yanan literature and art forum to the "Cultural Revolution", from the new period to the new century, the people are the consistent standpoint of the Chinese Marx literary criticism. With the change of historical conditions and tasks, the exploration of the national connotation of Marx's literary criticism in China is in turn in the three propositions of "nationality and class", "nation and the world", "national and modern". First, the national literature is inevitable in the era of class struggle. With class nature, different classes have different ethnic characteristics, but not "only" and "all" are class nature. Affirming the national character of literature and art, it does not deny that it has class nature at the same time, and vice versa. The national character and class nature of literature and art also have a unified side, different classes have common national character, and the nation and class convert to each other. Secondly, in the relationship between the nation and the world, the nation is the "relevant object of the unification of the individual and the universal", the National Nature and the world are interdependent and the opposite is unified. On the one hand, there is no world nature divorced from national nature, and the world is in National Nature, and it is presented through national nature; on the other hand, national nature needs to be taken The world is the coordinate, the vision and the purpose, and the particularity can not be discarded by the universality. The contemporary Chinese literary criticism of Marx should not only reflect on the theory of cultural particularity, but also oppose the false and universalism cultural standpoint, and adhere to the nationality on the basis of particularity and universality. Third, in the relationship between national and modern, The nation is the paradox of modernity, and the construction is both "national" and "modern" literature. It is the specific target of Chinese literary criticism of Marx's doctrine. In the Chinese literary criticism of Marx, the national character and modernity are contradictory and unified, which is embodied in the isomorphism of Chinese literature and the nation and the nation, the nation and the individual. The Chinese Marx doctrine literary criticism should not follow the western modernity, and should be based on the Chinese experience of the socialist literature and art construction, put forward and develop his own present proposition. The third chapter analyses the Chinese Mark in the era of globalization. The ideological literary criticism adheres to the possibility and positive significance of the national standpoint, and critically absorbs the national concept of post colonial theory and the contemporary Marx literary criticism of foreign countries. Globalization is not only a simple expansion of the physical space of capitalism, but also a profound infiltration of the logical texture. The main cultural logic of globalization. Globalization has violently impacted national countries, but it will not bring a "post nation" era. Chinese Marx literary criticism adheres to the national differences of literature. It can slow or even change the process of global cultural assimilation. Criticism of post colonial theory and the people of foreign contemporary Marx criticism The view of nationality is an important way to expand the national view of Marx's literary criticism in China. The postcolonial theory affirms that nationalism is a weapon to destroy the colonial system and revive the culture. It recognizes the construction of national state and culture, the isomorphism of nationalism and imperialism, and the deconstruction and replacement of the essentialism and dualism of the anti colonial nationalism. It emphasizes the constructivism, confounding and non material nature of the nation, and points out the new humanitarianism and socialist direction for the nation. However, it also reveals a strong Utopian atmosphere, which conceals the objective material oppression relationship between the nationalities. The foreign contemporary criticism of contemporary Marx doctrine affirms the resistance of the nation to the colonial rule and resistance on the people's problem. The role of global cultural standardization and its hidden racism and chauvinism are a narrow and distorted and dissimilated form of organizational form for the social revolution and human liberation. Therefore, they reinterpreted the connotation of the nation, including Anderson's "imaginary community", Eagleton and Ahmed. The theory of "the relationship between individual and universal unity", Jameson's concept of "the relationship of self and the other", and so on. These new nationalism provide useful enlightenment for Chinese Marx's literary criticism. The fourth chapter from the three aspects of the individual view, the tradition and the concept of carrying forward and the subjectivity, and the opening of the globalization of Chinese Marx's literary criticism under the construction of Globalization On the relationship between national and individual, Marx's literary criticism in China holds that, on the one hand, under the current historical conditions, the nation state is the basic social relationship and main activity place of "real individual". Before the history of human entering the kingdom of freedom, the national state provides the individual's reasonable rights and free and comprehensive development. To guarantee, the nation needs to be surpassed and abandoned in the individual's insistence rather than bypassing. On the other hand, the nation state is the means of the product of human history and the "real individual" to the realm of freedom, and the nation state should respect and guarantee the reasonable rights and interests of the "real individual", the requirements of the all-round development and self realization, but this kind of requirement Respect and guarantee are not abstract, form, but specific and different. Chinese Marx's literary criticism is committed to the balance and unity of the nation and the individual, and it can not be this and the other. But this kind of balance is not absolute and static, but is achieved in the dynamic bias. The tradition of the shared tradition is the basic trait of the nation. The Chinese Marx doctrine literary criticism persists in the open national standpoint. It needs to understand the "tradition" itself and the way of planning "inherit and carry forward" it. The tradition is the living past, the process of progress and the future. The "transformational creation" is the path advocated by the Chinese Marx literary criticism to carry forward the tradition. Only through conversion, the tradition can be truly inherited and carried forward in the face and solution of the new national cultural experience. "Transformational creation" is not based on the established western modern value. The aim is to "do not set up the new religion", to identify the tradition, to check the original and Evoluational meaning of the convertible tradition, to criticize and overcome the old tradition, to give the old tradition a new connotation to the problems of the national reality, and to be the concrete step of the tradition of "transformational creation". The establishment of national subjectivity is based on the other and is specific in history. Marx's literary criticism in China has set up and adheres to the subjectivity of national culture. It can not stick to the essence of the two points, transcendental, pure, intrinsic, absolute, and history of the enlightenment modernity, and to mark the people open to the other and the history. The subject of ethnic group. The subject of national culture should be established in the process of the integration of the national self and the other, thus creating a new quality. Nationality is the basis for the distinction between different ethnic cultures. It is a history, concrete, and created by the practice of human beings. The structure relationship and the specific history, therefore it neither refuses the foreign culture, nor adheres to some inherent culture, but advocates the cultural integration and Transcendence of innovation. It highlights the difference between the other and the other in the creation of its own history, and promotes its historical development in the fusion of others, thus making the relationship structure and historical dimension of the national subject. Combine organically.
【学位授予单位】：华中师范大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：I206.09
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本文编号：2076152