重返《生死场》、女性主义批评与20世纪90年代知识氛围——重读刘禾《作为合法性话语的文学批评》  

Return to Life and Death,Feminist Criticism and the Knowledge Atmosphere in the 1990s--Reread Liu He’s Literary Criticism as Legitimacy Discourse

作　　者：杨希帅 YANG Xishuai(School of Literature,Henan University,Kaifeng,Henan 475001)

机构地区：[1]河南大学文学院,河南开封475001

出　　处：《中国文学研究》2024年第2期9-17,共9页Research of Chinese Literature

基　　金：国家社科基金重大项目“中国文学学术现代化进程研究”(21&D263)。

摘　　要：刘禾的《作为合法性话语的文学批评》是《今天》杂志“重写文学史”运动的重要收获。但是,作为女性主义文本的《生死场》与萧红小说《生死场》之间的缝隙与错位,显示出刘禾以女性主义方法照亮被“民族国家文学”宰制的《生死场》时,有意无意地对这篇小说进行削足适履式的解读,从而压抑了小说自身更加丰富的意义可能性。刘禾对《生死场》的解读方式体现了女性主义批评方法在重新解读中国现代文学文本时可能产生的一些偏离和误区,这些偏离和误区可以看作20世纪80年代和90年代中国知识范式转换的症候式表现。Liu He’s Literary Criticism as a Discourse of Legitimacy is an important harvest of the“Rewriting Literary History”movement of the Today Magazine.This article rereads her classic article,by going back and forth between Life and Death and“Return to Life and Death”to find the gap and misalignment between Life and Death as a feminist text and Xiao Hong’s novel Life and Death.Furthermore,she pointed out that when Liu He used feminist methods to illuminate the“Life and Death Field”dominated by“national state literature”,she deliberately and unintentionally interpreted Xiao Hong’s novel,which suppressed the richer meaning possibilities of the novel itself.On this basis,this article hopes to achieve two writing purposes.One is to reflect on some deviations and misunderstandings that the feminist criticism method may have when reinterpreting the text of modern Chinese literature;the other is to treat Liu He’s article as the 1980s and 1990s.The symptomatic expression of the transformation of the Chinese knowledge paradigm in the 1940s,in an attempt to achieve the return to the 1980s and 1990s.

关 键 词：《作为合法性话语的文学批评》 《生死场》 女性主义批评 20世纪90年代知识范式 

分 类 号：I06[文学—文学理论]