错位的想象与困惑的接受——从《丽莎的哀怨》生成的异域文化语境谈起  

Misplaced Imagination and Confused Reception:Starting from the Foreign Cultural Context of Lisa's Grief

作　　者：张煦 Zhang Xu

机构地区：[1]上海外国语大学文学研究院

出　　处：《中国比较文学》2023年第2期129-145,共17页Comparative Literature in China

基　　金：上海市哲学社会科学规划青年课题“社会转型期文学探索的想象性建构:‘谢拉皮翁兄弟’小说创作研究”(项目编号:2019EWY015)的阶段性成果。

摘　　要：《丽莎的哀怨》是蒋光慈作品系列中颇受争议的一部。自出版之初,作者的创作意图和政治立场便遭到了不同程度的质疑,即便是在文学史价值重估的今天,蒋光慈也仍未摆脱与其笔下女主人公丽莎一体同构的阴影。事实上,如果将这部小说置于以卡拉姆津《可怜的丽莎》为代表的俄国文学传统中考察,便会发现丽莎形象是超越作者个体经验的异域文化符号,这一方面引导我们重新梳理蒋光慈创作《丽莎的哀怨》的最初动机,另一方面则暗示了该作品陷于接受困境的真实原因。对上述问题的讨论不仅有助于修复文学史本身,还是对文学的世界性与民族性之间微妙关系的一种重新审视。Among all of Jiang Guangci's works,Lisa's Grief is a controversial one.The author's creative intentions and political stance have been questioned to varying degrees since its publication.Nowadays even when the value of literary history is reassessed,Jiang Guangci's heroine Lisa still cannot get rid of being seen as the replica of the author's own personality.In fact,by putting this novel in Russian literary tradition represented by Karamzin's Poor Lisa,one can find that the image of Lisa is more like a symbol of foreign culture that transcends the author's individual experience.This urges us to explore Jiang Guangci's original motives for creating Lisa's Grief and the latent reason why the work is stuck in a difficult reception.The discussion of the above issues is helpful to repair the history of literature itself,when providing a re-examination of the delicate relationship between the cosmopolitanism and nationalism inherent in literature.

关 键 词：蒋光慈 《丽莎的哀怨》 卡拉姆津 《可怜的丽莎》 影响 接受 

分 类 号：I207.42[文学—中国文学]