中国文体意识的中和特征

方长安认为,中国现当代作家大都倡导文体间的相互渗透,追求文体的互文性效果,这种文体意识使他们的许多作品因文体融合而具有了新的外在形态与内在的结构性张力,从而开风气之先;而既有的文学史著作,基本上是以小说、诗歌、散文与戏剧四大体裁为结构框架,这一文学史模式不仅看低了作品的语体和风格特点,而且四大体裁之外的作品或被误读,或遭盲视。罗振亚揭示了"文体互渗"中的悖论现象,认为创作和阐释者们潜心于具有民族特色的文体学建设,在各个文体领域内构筑日臻成熟的文体审美规范和理论体系,但新文学的每一种文体又并不按预设的理论模式生长和发展,而是经常以逸出、偏离乃至对抗的"姿态"给相对稳定的理论规范制造尴尬与麻烦。高旭东认为,中国从先秦开始有了文体意识,但是这种意识的自觉是在魏晋南北朝时期;与西方更强调分析与明晰的文体意识相比,中国的文体意识具有中国文化的中和特征,更注重文体之间的和合,也就是在差异的基础上讲求文体之间的互渗。

Fang Chang'an considers that the Chinese modern writers have been advocating the mutual infiltration among the diverse styles and pursuing the effect of stylistic intertextuality.The works of Chinese modern literary history are mainly based on the four genres:novel,poetry,prose and drama.These modes caused not only the discrimination against the characteristics of the language and style but also the misunderstanding or ignorance of the literary works beyond the four genres.Luo Zhenya revealed the paradoxical phe- nomenon in the stylistic mutual infiltration theory.He holds the idea that the style of each new literary piece does not follow or develop by the prepared theoretical modes;instead,it often contradicts the relatively stable theoretical regulations by means of escaping,devia- ting and protesting writing attitudes.Gao Xudong deems that compared with the more analytical and explicit stylistic awareness in the West,Chinese stylistic awareness tends to be moderate by the influence of its culture.And the merge among different styles is attached much importance.In other words,Chinese stylistic awareness places much stress on the mutual infiltration among the diverse styles on the basis of differences