论文部分内容阅读
域外体验之于中国现当代文学的积极建构是明显的。域外体验不应单单理解为作家身体的异域移动,还应涵指作家本人对于异域文学、文艺、文化等生产的阅读、翻译、感受等非客观空间进入式的体验方式与效果。五四新文化运动退潮之后,鲁迅于1924年9月译毕的《苦闷的象征》,是其于所处时代环境下生命彳亍中的主动选择,也是其彷徨心灵的表征。同年11月问世的同人刊物《语丝》,与此种苦闷情绪呼应,成为后五四阶段代表性的知识分子抒怀发声的阵地之一。基于时间和人事的现实,加以理论的梳理及逻辑钩联,足以看出,留日归国的周氏兄弟领衔“语丝体”散文,他们的声音成为时代“苦闷的象征”的典型。
The active construction of extraterritorial experience in Chinese modern and contemporary literature is obvious. Extraterritorial experience should not be solely understood as the exotic movement of writers’ body, but also refers to the writer’s own experience and effect of non-objective space-style experiences of reading, translating and feeling for the production of exotic literature, literature and art, and culture. After the ebb of the May Fourth New Culture Movement, Lu Xun’s “Symbol of Depression” compiled in September 1924 is the active choice of his life in the age environment of which he lived and the characterization of his heart. The peer language publication YSL, appearing in November of the same year, echoes with such depressing sentiments and becomes one of the positions where the representative intellectuals of the post-May 4th period spoke in a vociferous voice. Based on the reality of time and personnel, we can conclude that the Zhou brothers who lead the country in Japan lead the “prose” and that their voices become symbols of “depression” Typical.