20世纪中国报告文学理论之变迁

Changes in the 20th Century Chinese Literary Theory of Reportage

20世纪中国报告文学总的历程,是从茅盾所期望的小说化路子折向夏衍《包身工》那种“论文式的‘报告文学’”的写法。其理论的发展,是从与相关文体的比较中,辩识其特征,到围绕新闻性与文学性的矛盾,特别对能否适度虚构与合理想象的问题,展开长期的论争,最终走到因否定报告文学的新闻性与文学性而无法认识这一文体的地步。实践进一步揭示,报告文学是散文中时代感最强的写人记事并可以直接加入作者议论的一种文体。它的本质特征是史实性,它可以由狭义散文向广义散文作一定程度的延伸。

The general process of the 20th century Chinese literary reportage develops from the approach of fiction as Mao Dun expected to the method of ＂reportage in the style of thesis＂ as in Xia Yan＇s Slave Labors. And its theoretical development comes out from a comparison of the related stylistics to distinguish its features, to a prolonged debate on the contradiction between its nature of journalism and the nature of literature, especially on whether it can have fictitious writing and reasonable imagination. Finally, its style could not be recognized because of the negation of the journalist and literary nature in literary reportage.