The Politics of Individuality in Modern Chinese Literature (1918-1942)

机译：中国现代文学中的个性政治（1918-1942）

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This dissertation aims to accomplish a reconfiguration of the idea of individuality in modern Chinese literature from Zhou Zuoren's "Humane Literature" (1918) to Mao Zedong's "Yan'an Talkss on Art and Literature" (1942). Through a rereading of several famous texts in the history of modern Chinese literature, this dissertation attempts to refresh the understanding of individuality and the individual in literature, showing different cultural-political possibilities and potentialities contained in the individual.;While the Chinese term corresponding to the English word "individual", "geren", was imported from Japan in the late nineteenth century, during the process of translation and introduction of the Japanese translations of modern Western political theories there surfaces an unphenomenalizable discrepancy between the logical term "individual" and the highly politicized term "geren". Without critically thematized, the seemingly innocent phrasing of "geren" (literally means "(one) piece of man") valorizes the way in which Chinese readers and critics identified and discussed "individuals" in the literary texts under examination, leaving intact the crucial underlying theoretical framework that determines the individual, i.e., the political reciprocal relationship between the individual and the state (or the collective). Focusing on the discrepancy between the cultural-politically stabilized correspondence of "individual/geren" and the literary configurations of the individual, then, this dissertation begins with a critical rereading of Zhou Zuoren's "The Human Literature", a text that was fundamental for the New Culture Movement in the late 1910s and paved a crucial way for the so-called "literary revolution" through a justification heavily depending on an idiosyncratic interpretation of the relation between the individual and humanity per se. Following the reading of Zhou Zuoren are a reinterpretation of Lu Xun's story "The Diary of a Madman" (1918) and Xiao Hong's novel The Field of Life and Death (1934), where I argue that the literary individual, as unstable as it is indistinguishable from the animal in these texts, points not towards any particular politics, but towards writing itself. The next chapter on Lao She's Camel-Xiangzi (1936), then, shows the extent to which the radicality of the literary individual exceeds the scope of realist representation, imploding the apparatus of "representationalism" (Theodore Huters) that is said to be characteristic of modern Chinese literature. Chapter Four associates Lao She's ironical narrative with the practice of fragmentary writing of the New Perceptionism, where the problematic of individual(ity) is critically placed at the level of touch, body, and the materiality of literature. To the same thread of thought, I argue, belongs Lu Xun's late "zawen", two pieces of which are closely read in Chapter Five. And it is in the late Lu Xun's case the literary configuration of the individual is detached from the representational and the representative, resonating with the unrepresentable being that is "being-with". Its flip-side, which I call "relationless relation", is examined in "Intermezzo II", where a rereading of Lu Xun's short story "Hometown" (1921) implies a nonsubstantial, asymmetrical relationship.;The dissertation ends with a reading of Mao Zedong's "Talks at the Yan'an Forum of Literature and Art" (1942), whose authority and influence makes it that the space of literature during and after the 1940s is strictly determined. Mao's "talk", I argue, is crucially but implicitly hinged on a particular configuration of the individual in literature.

机译：本文旨在对中国现代文学中的个性观念进行重构，从周作人的《幽默文学》（1918）到毛泽东的《延安艺术与文学谈话》（1942）。通过重新阅读中国现代文学史上的几本著名著作，本论文试图刷新人们对文学中的个性和个体的理解，显示出个体所包含的不同的文化政治可能性和潜能。英语单词“个人”（geren）于19世纪后期从日本导入，在翻译和介绍现代西方政治理论的日语翻译的过程中，逻辑术语“个人”与政治化的术语“ geren”。在没有严格主题化的情况下，“天真”（字面意思是“（一个）人”）的看似无辜的措辞，使中国读者和评论家在所研究的文学作品中识别和讨论“个人”的方式得到了重视，而使批评决定个人的基础理论框架，即个人与国家（或集体）之间的政治互惠关系。着眼于文化上政治稳定的“个人/人”对应与个体的文学形态之间的差异，然后，本文从对周作人的“人类文学”的批判性重新阅读开始，周作人的文本对于1910年代后期的新文化运动通过一种辩解为所谓的“文学革命”铺平了道路，而辩解在很大程度上取决于对个人与人类本身之间关系的特质解释。读完周作人之后，对鲁迅的小说《狂人日记》（1918年）和萧红的小说《生与死的领域》（1934年）进行了重新诠释，我认为文学个体是如此的不稳定。在这些文本中与动物没有区别，不是指向任何特定的政治，而是指向写作本身。接下来的下一章《老舍的骆驼祥子》（1936年）则表明了文学个体的激进程度超出了现实主义代表制的范围，从而使所谓的“代表主义”（西奥多·胡特斯）具有内在的特征。中国现代文学第四章将老舍的讽刺叙事与新知觉的零散写作实践联系起来，在该实践中，个人问题被严格地置于文学的触觉，身体和物质层面。我认为，属于同一思想脉络的是鲁迅的晚期“ zawen”，在第五章中有两篇文章被仔细阅读。正是在鲁迅后期的情况下，个人的文学形态才与代表人物和代表人物脱节，与“与”的代表人物共鸣。在《 Intermezzo II》中考察了它的另一面，即我所说的“无关系”，其中重读了鲁迅的短篇小说《故乡》（1921）意味着一种非实质性的，非对称的关系。毛泽东的《在延安文学艺术论坛上的讲话》（1942），其权威和影响力使得对1940年代及之后文学空间的确定是严格的。我认为，毛泽东的“谈话”至关重要但暗含于个人在文学中的特定配置。

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作者
Wang, Qin.;
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作者单位

New York University.;

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授予单位 New York University.;
学科 Comparative literature.;Asian literature.
学位 Ph.D.
年度 2017
页码 535 p.
总页数 535
原文格式 PDF
正文语种 eng
中图分类
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The Politics of Individuality in Modern Chinese Literature (1918-1942)

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