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作 者:马杰 MA Jie(School of Liberal Arts,Renmin University of China,Beijing 100872,China)
出 处:《海南师范大学学报(社会科学版)》2023年第5期55-65,共11页Journal of Hainan Normal University(Social Sciences)
基 金:国家社会科学基金重大项目“陕甘宁文艺文献的整理与研究(1934—1949)”(16ZDA187)。
摘 要:丁玲“左转”时期所进行的革命实践与文学实验在文化层面上呈现出复杂纠葛与动态“磨合”的历史症候性。以《一天》《田家冲》《水》等小说为代表,丁玲这一阶段的文学创作显出一种“黏质的惰性”,这不仅与丁玲的文学个性有关,更关涉革命文学的写作伦理本身。对此,丁玲在具体的创作实践中自觉调配其话语方式与语言资源以试图匹配其文学追求,并实现对自身驳杂“文化底色”的“超克”,但却不可避免地烙上其多元的文化“印记”,甚至在不断“试错”中陷入了概念化与粗鄙化的“歧途”。“深入生活”的文艺理念不仅为丁玲在延安的创作困境寻找到了破局之道,也让其逐渐过渡到“正统”的创作模式,即更多地在广大群众中收集、汲取创作材料与语言资源,从而摆脱文化人“个体户”式的文化想象与文学生产,并创构出一个休戚相关且又异质磨折的“文化共同体”。The revolutionary practice and literary experiments conducted by Ding Ling during her"left-turning"period present a historical symptom of complex entanglement and dynamic"adaptation"at the cultural level.Represented by revolutionary novels such as One Day,Tian Jia Chong,and Water,Ding Ling's literary cre-ation at this stage demonstrates a kind of"viscous inertia",which is not only related to her literary personality,but also involves the writing ethics of revolutionary literature itself.In response to this,Ding Ling consciously adjusted her discourse style and language resources in specific creative practices in an attempt to match her literary pursuit and achieve a"super transcendence"of her own mixed"cultural background",but she was inevitably marked with her diverse cultural"imprints",and even fell into the"astray path"of conceptualization and vulgarity in the course of her constant"trials and errors".The literary concept of"delving into life"not only found a solution to Ding Ling's creative dilemma in Yan'an,but also made Ding Ling gradually shift to the"orthodox"creative mode,namely,col-lecting and drawing more creative materials and language resources from the general public,so as to break free from the cultural imagination and literary production of individual cultural individuals,and to produce an interre-lated and heterogeneous"cultural community".
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