从“文类研究”到“文化政治”:“中国抒情传统”论述的典范建构及话语更迭

From Genre Studies to Cultural Politics:The Paradigm Construction and Discourse Transition of Overseas Chinese’s Discussion about“Chinese Lyrical Tradition”

在有关“中国抒情传统”论题的论争中,研究者常常混淆两个关键概念——“抒情传统”与“抒情传统”论述。前者是对中国文学史事实的一种判断和归纳;后者则是围绕这种判断和归纳而形成的一整套知识话语、认知框架乃至诗思方式。从“抒情传统”到“抒情传统”论述的转变,推动了近年来中国抒情传统研究中所谓“建构论”的兴起。在“建构论”的视野下,“抒情传统”论述自陈世骧、高友工至王德威的学术谱系之生成,正反映出该理论所经历的由“文类研究”到“文化政治”的范式更迭。由此而形成的两种形态迥异的现代性方案,显示出“抒情传统”论述,由内缘而外缘、由捍卫审美自律而重归意识形态的发展路向,为重思近代以来中国文论现代转化的曲折过程及不同路径提供了重要的参照和启示。

In the discussion about the overseas Chinese’s study of“Chinese lyric tradition”,researchers often confuse two key concepts-“lyric tradition”and the study of“lyric tradition”.The former is a judgment and conclusion of Chinese literary history;the latter is a set of knowledge discourse,cognitive framework and poetic thinking mode around this judgment and conclusion.The change from“lyric tradition”to the study of“lyric tradition”has contributed to the rise of the so-called“constructivism”in the study of Chinese lyric tradition in recent years.From the perspective of constructivism,the academic genealogy of study of lyrical tradition established by Shih-hsiang Chen,Yu-kung Kao and then David Der-wei Wang reveals the paradigm shift from genre studies to cultural politics.The two resulting different paradigms of modernity illustrate the trajectory of the discourse of lyric tradition evolving from internal study to external study,and from defending aesthetic autonomy to ideology,providing reference and inspiration for rethinking the twists and turns and different paths for the changes in modern Chinese literary theory.