主体退却的诗意消解——以周作人、汪曾祺的文学创作为例

Subject-retreated Poetic Deconstruction——A Case Study of Zhou Zuoren, Wang Zengqi's Literary Creations

从周作人早期文学创作与汪曾祺的文学创作出发,勾勒并比较周、汪对知识分子身份的认同,及其在诗意消解中文学创作的意义。"五四"新文化运动代表之一的周作人,在上世纪二十年代末却主张"闭户读书",撤出启蒙"广场"回归"民间岗位",从事翻译和小品文写作。汪曾祺则被誉为"中国最后一个士大夫",其世俗化的乡土小说洋溢着浓郁的人文气息,被称为不合时宜的"亮色"、知识分子桃花源、从大俗到大雅。在时代"共名"面前,他们的创作呈现主体退却的姿态,周作人、汪曾祺即使选择归隐,但其作品也始终脱离不了对"人"的关怀,这种超越历史、超越现实的关怀也是许多当代知识分子向往和追寻的精神高地。

From Zhou Zuoren＇s early literary creations and Wang Zengqi＇s literary creations, this paperoutlines and compares Zhou and Wang for the recognition of intellectual identity, and the significance in poeticdeconstruction in literary creation. Zhou Zuoren, one of the＂May Fourth＂new culture movement representa-tives, in the late 20 century had argued for＂closed-door reading＂, withdrawal of enlightenment＂square＂, re-turning to＂civil status＂, engaged in translation and essay writing. Wang Zengqi was known as the＂last of thescholar-officials＂, his secular novels filled with a rich cultural atmosphere, known as inappropriate＂Brights＂intellectuals, from commonplace to elegance. In times of＂common name＂, even if Zhou, Wang chose retire-ment, retreated to their creation of subject, their works are always non-escape to＂human＂care, which tran-scends the boundaries of history and reality which many contemporary intellectuals long for in pursuit of spiri-tual heights.