文学史的“转身”——狭邪小说文学史形象之嬗变  

The“Turn”of Literary History:The Image Evolution of Courtesan Novel in Literary History

作　　者：冯伟 FENG Wei(College of literature,Lioning University,Shenyang 110036,China)

机构地区：[1]辽宁大学文学院,辽宁沈阳110036

出　　处：《太原师范学院学报（社会科学版）》2022年第4期60-68,共9页Journal of Taiyuan Normal University:Social Science Edition

摘　　要：近百年来狭邪小说的研究过程,归根到底是此类小说文学史形象的嬗变过程。鲁迅首先开启了现代意义上文学史书写对狭邪小说“边缘”形象的建构,但也体现出鲜明的主体特征。以鲁迅为“坐标”,可以看到民国学界对狭邪小说两条同步却不“同位”的建构轨迹:一方面,《海上花列传》作为狭邪小说的扛鼎之作,存在一条相对独立的研究线索;另一方面,在文学史视域中,作为文体大类的狭邪小说也经历了由“边缘”向“主流”靠拢的过程。两条路径并不相称,前者较早获得了学界的经典化肯定,而后者直到新时期以后才开始文学史形象的转变。摆脱既往文学史接受的思维定式,回归对历代文学史阐释路径的整体观照,有利于还原狭邪小说的真实文学史形象,也有助于反思文学史上的其他“边缘作品”获得“解放”,“转身”回归文学文学史主流序列的可能性。Over the century,research on the courtesan novel mainly focused on the evolution of its image in literary history.Lu Xun for the first time constructed the marginalized image of courtesan novel in the modern literary history,but also reflected the distinctive subjectivity.After Lu Xun two synchronous but not identical research track of courtesan novel in the academic field of the Republic of China emerged.On the one hand,Sing-song Girls of Shanghai was studied in its own way as the best of the courtesan novel;On the other hand,as a main category of literary genre,the courtesan novel also experienced the process from marginalized one to mainstream in literary history.However,recognition of two tracks did not happen at the same time.The former,as a classic,was affirmed by the academic circle very early while the latter was not recognized until the new era of reform and opening up.Discarding the old pattern of literary history acceptance and return to the overall observation of the interpretation path of the history of literature is conducive to restoring the real image of the courtesan novel in literary history and to think about whether it is possible for other marginalized works to join the mainstream of literary history.

关 键 词：鲁迅 中国小说史略 文学史 狭邪小说 海上花列传 

分 类 号：I206.6[文学—中国文学]