铁蹄下的“救亡式启蒙”——“艺文志派”的文化民族主义策略

“Mass Enlightenment for National Salvation” in the Colonial Context——Strategies of Cultural Nationalism Adopted by the Yiwenzhi Group

本文从东北沦陷区知识分子关于“乡土文学”和“写印主义”的论争入手，对以古丁为首的“艺文志派”的创作思想和实践进行了深入考察，由此提出在殖民意识形态与旧文化、旧道德合谋的社会历史背景之下，“艺文志派”重新诠释了“五四…‘救亡式启蒙”的思想传统，通过对鲁迅遗产的继承和发扬，揭橥了一种在沦陷区“书写乡土”和“描写日常生活”的潮流中独树一帜的文化民族主义策略。如果说“文选派”的抗日宣传所诉诸的是东北乡土社会的“原始的强力”的话，“艺文志派”则超越了现代性与民族性间二元对立的窠臼，将启蒙视为实现民族解放的最终途径。在这一过程中，他们以话语权力的争夺、社会现实的批判和对殖民文化资源的挪用为手段，从内部挑战并消解了殖民统治的合法性。

Starting from a discussion of the controversy of ＂write-and-print-ism＂ and ＂native-land literature,＂ this article conducts an in-depth research on the Yiwenzhi （《艺文志》 ） group＇s literary thought and praxis, particularly Gu Ding＇s writings. As it turns out, confronted with the conspiracy between the colonial ideology and old-styled culture, they reinterpreted the May Fourth intellectual tradition of ＂mass enlightenment for national salvation＂ and initiated a set of distinctive strategies of cultural nationalism inspired by Lu Xun, their purported patron saint, among the prevailing trends of ＂depicting the native place＂ and ＂portraying the everyday life＂ in occupied China. If it can be claimed that the Wenxuan （《文选》） group, their primary opponents in debate, mainly relied upon the ＂primordial force＂ of the rural society to formulate anti-Japanese propagandas, then the Yiwenzhi group managed to transcend over the binary opposition between modernity and national identity, and accordingly took modernization as the ultimate path to the emancipation of the Chinese nation. In this process, they engaged struggles for discursive power in the public sphere of Manchukuo, vehement criticism against the cruelty of social realities, and an appropriation of the cultural resources of the Japanese occupiers, thus challenging and undermining the legitimacy of the colonial rule from within.