旅行书写与“想象”生产——20世纪三四十年代陕北游记中的“风景”  

Travel Writing and the Production of“Imagination”——“Scenery”in Journey to Northern Shaanxi in the 1930s and 1940s

作　　者：李跃力[1] LI Yueli(School of Literature,Shaanxi Normal University,Xi’an 710119,China)

机构地区：[1]陕西师范大学文学院,陕西西安710119

出　　处：《河北大学学报（哲学社会科学版）》2024年第2期57-66,共10页Journal of Hebei University(Philosophy and Social Science)

基　　金：国家社会科学基金重大项目“中国共产党领导左翼文艺的历史经验研究”(23&ZD286)。

摘　　要：20世纪三四十年代,大批海内外人士纷纷探访以延安为中心的陕北地区,写下了为数甚巨、流传甚广的“陕北游记”,“风景”是游记中不容忽视的重要部分。对“陕北游记”中感性存在的“风景”进行探究,不仅使我们丰富和加强对“风景”作为“认识装置”的理解,更重要的是为我们揭示实用性非虚构文体与文学想象的关系提供了可能。陕北游记中的“风景”包含了丰富的“风景政治”内涵,其背后潜藏复杂的意识形态乃至政治想象,纪游者也绝非风景的简单记录者,而是某种意义上的风景的创造者。域外旅行者笔下的“风景”则提供了一种带有“东方乌托邦”色彩的跨文化想象。“风景”和“想象”实际上构成了一种互动互生模式,“风景”构建并刺激了一种“新中国”想象,后者又为前者提供了一种先在的眼光或“认知装置”。In the 1930s and 1940s,a large number of people from home and abroad visited the northern Shaanxi region centered around Yanan,and wrote a huge and widely circulated“Journey to Northern Shaanxi”.“Scenery”became an important part of the travelogue that cannot be ignored.Exploring the sensory existence of“scenery”in“Journey to Northern Shaanxi”not only enriches and strengthens our understanding of“scenery”as a“cognitive device”,but more importantly,provides us with the possibility of revealing the relationship between practical non-fiction literary genres and literary imagination.The“scenery”in the travelogue of northern Shaanxi contains rich connotations of“landscape politics”,and behind it lies complex ideological and even political imagination.The traveler is not simply a simple recorder of the scenery,but a creator of the scenery in a certain sense.The“scenery”in the works of foreign travelers provides a cross-cultural imagination with the color of“Eastern utopia”.“Scenery”and“imagination”actually constitute an interactive and interdependent mode.“Scenery”constructs and stimulates a kind of“New China”imagination,while the latter provides a pre-existing perspective or“cognitive device”for the former.

关 键 词：陕北游记 风景 旅行书写 想象 

分 类 号：I247[文学—中国文学]