创作主体在无边现实主义中的有限创作——读安敏成《现实主义的限制——革命时代的中国小说》

Creation Subjects Limited Literature Creation in Boundless Realism: Thoughts after Reading The Restriction of Realism:Chinese Novels during the Revolutionary Periods by An Mincheng

现实主义作为一种创作手法,在文学诞生之初就已经存在,到了19世纪的欧洲,文学理论家将现实主义从绘画领域引进文学中,当时的知识界希望将文艺活动整合到整个社会,这种将社会作为观察场的整体性思维方式给现实主义思潮在文学领域呈现出"无边性"埋下伏笔。随着五四新文学运动,中国创作者秉承了中国传统的务实精神,以及以文载道的知识分子情怀,在现实主义这一理念中进行各具自我色彩的创作,以鲁迅的道德内省唤起民众觉醒和茅盾在文学中描绘自己的政治梦想为代表,但是殊途同归都是一种民族战斗精神的体现。当然这种独具个人特色的有限创作,丰富着现实主义的内涵和表现形式,这和现实主义活跃且无边的特质是一脉相承的。

Realism, as a kind of creation technique, existed at the beginning of the birth of literature. By the 19th century, European literacy theorists introduced realism from painting to literature, during which the intelligentsia hope to integrate literature activities into the whole society. The holistic thinking mode which regards the society as observation fields set the stage for realism ideology to present a trend of boundlessness in literature field. With the May Fourth New Culture Movement, Chinese literature creators inherited the Chinese traditional pragmatic spirit, as well as the intellectuals＇ sentiments of conveying philosophy in Literature. In this idea of realism, they created a variety of literatures with respective characteristics： for instance, Lu Xun employed his moral introspection to raise the awareness of the public; while for Mao Dun, his political dream was embodied in his literature. They applied different ways to reach the same purpose, which represented a nation＇ s nationalism. Of course, this kind of limited literature creation with personal characteristics has enriched the connotation and presentation of realism, which is consistent with the characteristics of activeness and boundlessness of realism.