“自我”的符码与戏码--论瞿秋白笔下“多余的人”与《多余的话》

Symbolizing and Dramatizing “the Self”:“Superfluous Man” and “Superfluous Words” in the Prose of Qu Qiubai

"多余的人"作为一条明晰的主轴,贯穿瞿秋白一生的创作。瞿秋白的遗书《多余的话》,在瞿氏文章中有发展与演变。瞿秋白性格内具二律悖反特质的精神现象,为后来他所做的《多余的话》提供可相互佐证的基础。瞿秋白文章内存在多层次的自我符码与戏码。过往的瞿秋白研究虽亦谈论俄国文学对他的影响,但常偏重从中国文学文本、文化与政治角度出发来探讨,而忽略他对19世纪俄罗斯文艺遗产、苏联以及共产国际的认知与认同,以致无法呈现跨文化文本的发展与痕迹。本论文藉由爬梳评论,并综合分析中、俄、英、日四方之过往文献,追源溯本。

This article studies the theme of "superfluous man" in the evolution of the prose of Qu Qiubai, tightly associating with his last work Superfluous Words. One of my main argu ments elaborates characteristics of "Antinomies" in Qu's spiritual phenomena, which provide a solid basis of writing Superfluous Words and create multiple layers and levels to symbolize and dramatize his ‘Self' in his works in different periods. My research synthesizes and scrutinizes Chinese,Russian, English and Japanese studies of Qu Qiubai, tracing the Russian origin of the term "superfluous man",categorizing its literary types in world literature, and investigating its influences on Qu 's prose, including his political essays. The article also shows how Qu employs such term, types and theme as a simile, metaphor, or/and instrument in his works, with specific reference to "Chinese Superfluous Man", and "Superfluous Words", in order to illuminate/conceal,symbolize, or/and occasionally dramatize his political situations and psychological conditions in different stages.