“还乡文学”的审美之维——评合作化时期的周立波及其小说  

Aesthetic of the Returning-Home Literary about Zhou Libo and His Novel in the Cooperaticalization Period

作　　者：杜国景[1] 

机构地区：[1]贵州民族学院文学与传播学院,贵阳550025

出　　处：《湖南城市学院学报》2008年第6期76-83,共8页Journal of Hunan City Univeristy

基　　金：国家哲学社会科学基金立项课题(06BZW062)

摘　　要：还乡是知识者思接千古的文化姿态,其内在逻辑错综复杂而又具有某种同质性。周立波合作化时期的还乡文学,创造的是另一种模式。虽有明确的意识形态目的,但向着生命本源性的接近,也逼出了他无从遮蔽的"归根返本"的审美维度,从而导致知识者与革命者、个人主体与超个人主体、知识者还乡的启蒙与自我启蒙等诸多对话关系发生。惟其如此,周立波还乡才带有某种精神转换史意味,《山乡巨变》等还乡之作的情感体验与艺术趣味,才能在能指与所指、表症与隐含、确定性与非确定性之间,留下较大阐释空间。Returning-home is one culture stance of literates who consider the history and the realism through the culture stance. It is intricate in logic and has one identity. The novels of Zhou Libo in the cooperaticalization period of 1950s＇had created a different one. The stance has unambiguous ideology purpose, but it favorites the life ultimatablity and tells us the clear aesthetic of returning-home. Therefore, the stance brings on many relations, such as literates and reformer, individual subject and super-individual subject, the enlightenment and self-enlightenment of the returning-home literates. Based on these, there are more possibility to decipher the emotion experience and artistic taste of returning-home literatures, such as ＂Gigantic Changes of the Villages＂. between signifier and signified, token and hint, and authenticity and unauthenticity.

关 键 词：本源性 超个人主体 启蒙 

分 类 号：I206.7[文学—中国文学]