周作人1920年代思想转型与“以蔼理斯为方法”

Zhou Zuoren’s Ideological Transformation in the 1920s and “Taking Ellis as the Method”

周作人对蔼理斯的接受,不仅有知识学层面,亦有人生观层面。这样一个互动过程并不是单向度的移植,而是衍生出许多新质。本文运用“以对象为方法”的理念,考察周作人如何利用蔼理斯的学说解决1920年代所面临的难题。具体表现为以下三个方面:一、蔼理斯“道德艺术化”的学说与周作人伦理道德、文学艺术与国民性互为因果的思路相契合,生成了“科学道德化”的新启蒙路径;二、当文学与革命、个人主义与人道主义成为1920年代周作人思想体系中异常冲突的概念,蔼理斯“生活即艺术”和“个性的文学”冲释了这种拮抗作用,帮助他确立了文学的内在价值;三、蔼理斯的“耽溺“”净观”拆解了与传统“礼”的对立,为周作人提供了构建新的主体存在方式的策略。

Zhou Zuoren’s acceptance of Ellis,a British literary theorist,was not only based on knowledge but also his outlook on life.This interaction resulted in many new qualities as opposed to a one-way transplantation.This paper“takes Ellis as the method”to investigate how Zhou Zuoren used Ellis’ s ideological resources to solve the problems in the 1920s.Firstly,Ellis’ s theory of“moral artistry”is consistent with Zhou Zuoren’s idea of“ethics,literature and art,and national character have mutually causal relations”,which has been transformed into a new enlightenment path of“scientific moralization”.Secondly,the antagonism between literature and revolution as well as individualism and humanitarianism became the core conflict facing Zhou Zuoren in the 1920s.Ellis’ s“life is art”and“personalized literature”dispelled the antagonism and found a sharp tool to reduce his sense of guilt and contradiction.Thirdly,Ellis’ s“indulgence”and“purity”dismantled the opposition to the traditional“ritual”and provided Zhou with the strategy of constructing a new way of existence.