革命与抚慰:现代性激进化中的农村叙事——重论五六十年代小说中的农村题材

Themes of Rural Areas in Novels of the 1950s—60s Reinterpreted

论文试图从现代性视角去审视中国五六十年小说中的农村题材问题,既看到它的历史合理性,也看到它的种种过度意识形态化。中国革命要把历史重新建构为以贫困农民为主体的社会基础上,这就要在文化上开创一种新的历史,那就是把中国现代性开始建立的以民族资产阶级为基础的启蒙文化驱除出去,把文化的方向确立在以农民和农村为主体的基础上。赵树理的作品作为社会主义革命文学中最初建构的资源,它既没有那么强烈的阶级斗争,也不那么血腥暴力。但革命在那个时期需要赵树理这样的"温和情感"来抚慰农民。这也说明文学与革命构成的现实关系。社会主义革命既需要文学来建构激进的未来形象,也需要它现实地以民族传统的"喜闻乐见"的艺术表现方式来抚慰以农民为主体的社会,这就是"农村题材"所承载的思想的革命性与艺术形式的民族形式之间的悖论所在。

By scrutinizing themes of rural areas in novels of the 1950s and 60s in China from the perspective of modernity, this paper attempts to consider both the historical rationality and the excessive ideological inclination of representation in novels of rural themes. Since the Chinese revolution aims at reestablishing history upon the social basis with poor peasants as its principal body, a new type of history in culture should be developed accordingly by repelling the enlightenment culture of Chinese modernity based on national bourgeoisie and by establishing a type of culture with peasants and the rural area as the principal body. As the initial resource for the establishment of socialist revolutionary literature, the works by Zhao Shuli did not portray intense class struggle or contain descriptions of bloody violence, because works of such ＂mild emotions＂ as those by Zhao Shuli were then needed to console peasants, which indicates the practical relationship between literature and revolution. As for socialist revolution, literature is needed not only to delineate radical prospective images but also to actually comfort society mainly composed of peasants by way of traditional artistic modes of expression loved the people. This is the very paradox between the revolutionariness of ideology and the national features of the artistic pattern embodied by the ＂rural subject matter＂.