舶来品内销的误会——刍议李劼人与大河小说  

A Chinese Misreading of a Foreign Literary Concept:Differentiating Li Jieren from Roman-Fleuve Novels

作　　者：吴天舟[1] Wu Tianzhou

机构地区：[1]复旦大学中文系,上海200433

出　　处：《四川大学学报(哲学社会科学版)》2025年第2期200-209,239,240,共12页Journal of Sichuan University:Philosophy and Social Science Edition

摘　　要：作为李劼人“三部曲”研究核心概念之一的“大河小说”(roman-fleuve),实乃历代学者创造性误读层累的结果。与中文世界的李劼人研究者将大河小说视作19世纪法国现实主义文学的代名词不同,大河小说本身其实不是一个相当严谨、拥有明确所指和边界的学术用语。尽管如此,这一概念背后,包含着罗曼·罗兰、蒂博代等20世纪初的法国文学家积极吸收柏格森主义、尼采哲学等思潮和托尔斯泰等外国文学资源,在形式和思想方面同时突破19世纪法国文学成就的抱负。20世纪20年代正在法国留学的李劼人并不与这些文坛上的新变绝缘,但在当时和此后却皆未选择对之加以吸收。他所更感兴趣的文学技巧,依然来自巴尔扎克等经典作家。这种中外文学“背道而驰”的发展趋向,与国内主流文坛对于法国文学的接受视角有关,也是作家个人主动选择的结果。Chinese literary critics have frequently employed the concept of“roman-fleuve”in interpreting Li Jieren’s historical trilogy Dead Water Waves,Before the Storm,and The Great Wave.However,the close association between Li Jieren and the roman-fleuve paradigm—rooted in the creative misreading of scholars since Sima Changfeng and embedded within normative discourses of literary history—emerges as a contingent construct.While Chinese scholarship predominantly identifies the roman-fleuve with nineteenth-century French realism(epitomized by Balzac and Zola),this term itself lacks rigorous academic definition,as it is characterized by ambiguous boundaries and divergent interpretations among theorists.Notwithstanding its conceptual fluidity,the rise of the roman-fleuve discourse in early twentieth-century France was intimately linked to broader cultural shifts.Writers and critics such as Romain Rolland and Thibaudet actively appropriated Bergsonian philosophy,Nietzschean thought,and foreign literary traditions from Britain,Russia,and Germany to transcend the achievements of nineteenth-century French realism.Although these influences manifested unevenly across French authors,they collectively shaped the discursive milieu that crystallized into the metaphor of the“great river.”Li Jieren,who studied in France during the 1920s,was not immune to these intellectual currents,as evidenced by his extensive writings on French literature,including detailed accounts of Tolstoy’s reception in France through the works of Paul Bourget.Nevertheless,Li Jieren consciously rejected modernist techniques associated with the roman-fleuve,persisting instead in employing nineteenth-century realist conventions such as Balzac’s“reappearing characters”method.This apparent divergence between Chinese and Western literary developments reflects both the ideological orientations of May Fourth-era Chinese literati toward French culture and Li Jieren’s personal artistic choices.Furthermore,while Li Jieren’s engagement with ninetee

关 键 词：李劼人 大河小说 中外文学关系 

分 类 号：I207.42[文学—中国文学]