新文艺理论体系论(七)

On the New System of Critical Theories(Ⅶ)

文艺史的研究一定要打通中西古今,建构文学体裁与戏剧类型学。只有打通中西古今,才能抓住各种文学体裁与戏剧类型的本质特征。凡文艺总是从表现的角度来反映外物的,广义的诗学之本体论在于此。文体不仅有孕育产生的过程,而且其特征也有一个发展变化的过程,因而某一种文体在其发展中也会产生出新类型来,亦即其类型也会转换。中国现当代文学中作为基本类型划分的体裁四分法,既非来自中国古代,亦非来自西方,它是在中国现当代文学发展的特殊过程中形成的。中国现当代文学中四体划分的文体概念形成的关键在于"现代散文"概念的明确。现代散文起源于杂感,杂感在向杂文发展的过程中,融合了絮语散文,形成了小品文。小品文在20世纪30年代前期形成高潮,使得散文得以与新诗、戏剧和小说并列,这样就产生出了四体划分的文体框架。散文作为一种文体,其最根本的矛盾乃是实用性与文学性的矛盾。报告文学是散文中时代感最强的写人记事、作者并可以直接议论的一种文体,它可以由狭义散文向广义散文作一定程度的延伸——包括向着小说的靠拢、对各种社会科学知识的涵容以及政论哲思的抒写,却不能作过度的延伸:这就是报告文学的本体论。相互对立的"大散文"概念与"文体净化"说,都是错误的。

Various elements, Chinese and western, ancient and present, should be integrated in the construction of literary genres and drama typology. Literature and art in general 'expresses' the world, which defines the ontology of poetics in a broad sense. A particular literary genre should be understood as a generative and dynamic process. The Chinese conception of the four literary genres was formed in the process of modern Chinese literary development. The key to this concept is the formation of a clearer definition of 'modern prose', which, in turn, was derived from rambles. Prose climaxed in the early 1930 s, thus becoming a literary genre juxtaposed with new poetry, drama and the novel. The moot point in prose is the tension between practicality and literariness. Reportage may be extended from prose in a narrower sense to a broader sense. It may get closer to the novel and contain writings about social and scientific knowledge and philosophizing over politics, but there should be a limit to such extension. This is about the ontology of reportage. Neither 'broad prose' nor 'genre purification' as two opposing concepts holds water.