从生命哲学到生命诗学——20世纪中国存在主义文学本土化论之三

From Life Philosophy to Life Poetics:On the Localization of the 20th Century Chinese Existentialism Literature(Part 3)

20世纪中国存在主义文学的提出,学界已有一定共识。当存在主义从西方语境中被抽取出来放置于中国"现代性"语境后,它已在被重构的基础上获得本土化身份。它由文化理念上反社会性的生命哲学转化为艺术哲学上以和谐为准则的生命诗学,这是存在主义文学本土化的一个明显趋势。中国式存在主义的生命诗学的创作思路,分为"艺术生命化"和"生命艺术化"两个方向。生命艺术化,主要以儒家生命哲学观为主体,化合了柏格森的"生命创化说"、尼采的"酒神精神"所驱动的生命意志论等,它以鲁迅及其创作为代表。艺术生命化,基于叔本华的生命意志论,并融合道家的心物俱冥、物我统一等东方生命哲学观,它以何其芳、贾平凹等创作为代表。

Scholars have already had a consensus on the 20tb century Chinese existentialist literature. When existentialism is extracted and placed on the Chinese ＂modernity＂ context from Western context, it has been reconstructed and obtained native status. It has been translated into life poetics which puts harmony as its criteria from the life philosophy which is anti - social on culture principles. That is a clear trend for existentialism literature＇ s localization. The thoughts of creation, for the life poetics of Chinese existentialism literature, are divided into two directions of ＂art like life＂ and ＂life like art＂. The first direction, mainly puts Confucian life philosophy as the principal, and confuses the theory of life will such as Bergson＇ s ＂life creation＂, Nietzsche＇ s ＂Dionysian spirit＂, with Lu Xun and his works as its representative. The second direetion is based on Schopenhauer＇ s life will, and integrates some ideas of oriental life philosophy, which mainly includes Taoist＇ s thought that human and all object are united, with He Qifang＇ s and Jia Pingwa＇ s works as its representative.