内外有别:“文革”书写的两种类型(上)  

Difference between Outsiders and Insiders: Two Modes of Writing about “Cultural Revolution”(Ⅰ)

作　　者：陶东风[1] 

机构地区：[1]广州大学人文学院

出　　处：《上海文化》2018年第4期96-105,110,共11页Shanghai Culture

摘　　要：本文以王蒙的《布礼》《蝴蝶》与丛维熙的《大墙下的红玉兰》,以及杨绛《干校六记》、郑念《上海生死劫》,深入分析这两类作家"文革"书写的差异。作为革命组织内部人的王蒙和丛维熙,在书写本人"文革"遭际时,在思想上不能超越其所效忠的革命组织及其意识形态,在叙事方法上则延续了革命文艺过度抒情的倾向,无法与其所书写的对象拉开距离。与此相反,无论是从知识、信仰,还是从组织角度看,作为革命外部人的党外作家杨绛与郑念,在书写自己的"文革"经验时,采用旁观者的视角,其故事讲述讲究情感的节制,显得冷静、从容,与"伤痕文学"形成强烈对比。This article identifies two modes of writing about the "Cultural Revolution", represented by Wang Meng's Bolshevik Salute and The Butterfly, Cong Weixi's The Blood-Stained Magnolia beneath the Wall, as well as Yang Jiang's Six Chapters from My Life and Zheng Nian's Life and Death in Shanghai. As revolutionary insiders, Wang Meng and Cong Weixi could not go beyond the revolutionary organization and ideology they have pledged their loyalty to when recounting their experiences of the "Cultural Revolution". Neither could they keep distance from the subject matter of their writing with a narrative technique that bears the tendency for hyper-lyricism of revolutionary aesthetics. Yang Jiang and Zheng Nian, however, have managed to break away from the ideological constraints of the Communist Party of China in their personal memoirs because they are nonparty members and revolutionary outsiders. Both writers adopt the point of view of a bystander and pay heed to emotional restraint in their storytelling. The calmness and ease of their works stand in sharp contrast with the Scar Literature.

关 键 词：“'文革’书写” 内部人 王蒙 丛维熙 外部人 杨绛 郑念 

分 类 号：I207.42[文学—中国文学]