被遮蔽的现代性:对两种“否赵”观点的驳论

The Covered Modernity: on Two kinds of Negative Perspective about Zhao Shuli——combining else remarking on Luxun

目前赵树理研究中存在两种解构倾向:一是认为赵树理的文学观念和艺术水准是从鲁迅等人的现代文化高层次向农民文化低层次的倒退,只有普及意义而无提高价值,是农民立场与农民水平。二是认为赵树理创作是学习《讲话》的结果,是把文学当作为政治服务的工具的典型。其实,这两种倾向是对赵树理小说的极大误解,其原因是缺乏对赵树理整个创作文本的整体研究以及对中国文化的复杂背景与作家主体的复杂心理的整体把握,尤其是轻信作家对自己小说的评论与别人特别是官方对其小说的评论,而忽视了研究的最基本对象即文本本身,从而导致了对存在于赵树理小说文本深层的现代性的极大遮蔽。

There exist two kinds of tendencies in the study of Zhao Shuli, one is that Zhao Shuli＇s literary point of view and art level are the return from high cultural level represented by Lu Xun and others to the lower cultural level of peasants, representing peasants＇stand point and level; the other is that the creation of Zhao Shuli is the result of Chairman Mao＇s “Talk”, using literature as a tool of politics. I think that the two tendencies are the misunderstanding of Zhao Shuli＇s writings, the reason that the im- plied modernity of Zhao Shuli＇s writings is the lack of the complete understanding of Zhao Shuli＇s creative text and the complicated background of Chinese culture and psychology of the author.