The Historical Positioning of Classicism in Modern Chinese Literature
- 人文学院－已发表论文 
诸种版本的中国现代文学史论著论及 2 0世纪 2 0、30年代文坛时 ,只有浪漫主义思潮与写实主义思潮的“双峰对峙” ,只有以象征主义为代表的现代主义思潮 ,惟独见不到古典主义思潮的踪影。如若卸却政治判断的预设 ,纳入现代性历史语境之中 ,从学术史角度考察 ,从历史真实出发 ,学衡派与新月派于内在学理上是一脉相承的 ,它们在新人文主义的理论基础上构成了古典主义文学思潮。这一思潮有着发端、演进、高潮的历史进程 ,有着自身理论体系和创作业绩。它对于因历史现代性的偏执而导致的人文精神失落及学术衰微的中国现状提出了质疑与抗衡 ,构成了推进中国现代文学发展的历史合力。A variety of writings on Modern Chinese literature between 1920’s and 1930’s only involves the confrontation between Romanticism and Realism and the Modernist thought represented by Symbolism, but nothing about Classicism. If we abandon the political preconceptions, put Xueheng and Xinyue in the historical context of modernism, and further examine them from the perspective of both academic history and historical reality, we can say that they are schools that belong to the same tradition, a literary thought of Classicism that has its own origin, transformation, and climax in the process of development with its own outstanding theoretical system and literary achievements. This school of thought questions and contradicts the status quo of China that suffers from the frustration of humanism and the decline of academy owing to too much bigotry on historical modernity, thus forming a historical force that pushes modern Chinese literature into a new era.