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| 題 名 | 從寫實主義到現代主義:論郁達夫小說的承傳地位=From Realism to Modernism: Yu Dafu's Transitional Position in Modern Chinese Fiction |
|---|---|
| 作 者 | 馬森; | 書刊名 | 成功大學學報 |
| 卷 期 | 32(人文．社會篇) 民86.11 |
| 頁 次 | 頁29-42 |
| 分類號 | 782.88 |
| 關鍵詞 | 浪漫主義; 寫實主義; 現代主義; 內視小說; Romanticism; Realism; Modernism; "Intrinsic fiction"; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 五四前後在浪漫主義與寫實主義兩種西方文學思潮競相輸入中國的時期， 由於 中國文壇對後者情有獨鍾，在小說創作上使寫實主義幾乎形成一枝獨秀的局面。本身帶有浪 漫氣質的郁達夫，在那一代的小說家中異軍突起，未受寫實主義所限。有的文學評論家把郁 達夫看作是寫實主義作家，另一些評論家又把他看作是浪漫主義作家。其實郁達夫的作品本 來就含有浪漫和寫實的雙實成分，使他無法避免站在二者的交叉地帶。然而，如果我們從文 學傳承的角度著眼，郁達夫的重要性毋寧在於他的作品中所具有的現代主義的成分。二十年 代正當西方現代主義的高潮，在中國反倒未引起國人的興趣，只有郁達夫是少數的例外（如 果不是唯一的）。郁達夫作品中所呈現的個性解放及孤絕的氣氛，跟現代主義小說中的疏離 感如出一轍。郁達夫最喜歡用的自剖，除了浮現著佛洛伊德心理分析的痕跡，在技術上也非 常接近意識流的「內在獨白」；甚至郁達夫偶然也會運用表現主義常用的「幻境」。郁達夫 所表現的前衛色彩，使他在文學的傳承上成為從寫實主義過渡到現代主義的一座重要橋樑， 下開以後「內視小說」的先河。 |
| 英文摘要 | During the period of the May Fouth Movement, most of the modern Chinese writers preferred realism to romanticism. However, Yu Dafu was the one among few fiction writers who have been considered in between of the two esthetic treands by the literary critics. Besides his romantic propensity, Yu Da-fu was the rare one, if not the only one, who had been influenced by the Western modernism. The expression of self-liberation and the feeling of isolation contained in his works has close affinity to the modernist alienation. In so far as the characters are concerned, not only can the impact of Freudian psychoanalysis be found in his fictions, but Yu's confessional style is also analogous to the technique of monologue interieur used in the modernist novels of stream-of-consciousness. All these avant-gard features manifested in Yu's fiction made him have the transitional position from realism to modernism in modern Chinese literary history and opended the trend of "intrinsic fiction" of the later generations. |
本系統中英文摘要資訊取自各篇刊載內容。