青海師范大學中國語言文學一級學科研究生通識課程
“跨文化中國學研究方法論”第七講
程正民教授《文學作品中的場面》
主講教授簡介：程正民，北京師范大學教授，1959年畢業(yè)于北京師范大學中文系。歷任北京師范大學蘇聯(lián)文學研究所副所長、《蘇聯(lián)文學》雜志常務主編、北京師范大學中文系主任等職?，F(xiàn)任教育部人文社科重點研究基地北京師范大學文藝學研究中心專職研究員，北京師范大學跨文化研究院學術委員會主任。主要研究方向為俄蘇文論和文藝心理學。主要出版著作有《俄蘇文學批評史》、《20世紀俄蘇文論》、《列寧文藝思想與當代》、《巴赫金的文化詩學》、《從普希金到巴赫金》、《俄國作家創(chuàng)作心理研究》、《創(chuàng)作心理和文化詩學》、《藝術家個性心理和發(fā)展》、《跨文化研究與巴赫金詩學》等多種，發(fā)表學術論文逾百篇。程先生在“教育援青”人文學科建設基礎用書中，撰寫并出版《俄羅斯文學新視角》一書，并為青海師大文學院研究生親自授課。
2022年4月9日，青海師范大學中國語言文學一級學科“跨文化中國學研究方法論”研究生課進入第七講，北京師范大學著名俄羅斯文學研究專家和文藝學家程正民教授擔任主講，題目為《文學作品的場面》。青海師范大學文學院、青海師范大學高原科學與可持續(xù)發(fā)展研究院、北京師范大學跨文化研究院師生60余人參加了聽講。青海師范大學文學院副院長劉曉林教授主持本課。
程正民教授《文學作品中的場面》授課現(xiàn)場（2022年4月23日）
“場面”研究不是一個大問題，今天看來還有點接近冷知識，卻是學術史上未曾得到充分研究的一個基本問題。程正民教授說，他的老師黃藥眠先生曾于1951年發(fā)表文章，討論小說人物的登場，登場的“場”就涉及場面。馬克思主義文藝家周揚也曾在早期談到，文藝理論研究應注意三個層面，即基本概念、基本作品和基本訓練，基本訓練就是要會做具體作品分析。黃藥眠先生還親自給青年教師上課，分析馮夢龍《醒世恒言》中的《賣油郎獨占花魁》，率先垂范，講得非常好。他接著要求青年教師自己選文章分析作品，交作業(yè)，他來修改，改得一絲不茍。他就是這樣訓練我們的基本功?，F(xiàn)在的文學研究課喜歡講大道理，忽略作品分析，這很可惜。他講這門課得益于老師的教導。
程先生此課分為四個專題進行：一、場面的概念，二、場面的作用、三、大小場面及其關聯(lián)，四、場面的風格。程先生從概念講起，指出，場面是作品構成的重要因素，是由人物在一定時空發(fā)生關系而組成的生活情景。人物、情節(jié)、場面是構成文藝作品的三要素，只研究人物和情節(jié)，不研究“場面”，同樣不能深入到作品的藝術世界中去。程先生使用五部中外經典名著展開分析，包括世界聞名的俄羅斯文學家托爾斯泰的《戰(zhàn)爭與和平》和《安娜·卡列妮娜》，陀思妥耶夫斯基的《白癡》，中國古典小說巨著《水滸傳》和《紅樓夢》。根據(jù)程先生的分析，場面的功能在于推動情節(jié)的發(fā)展，表達人物性格和人物關系；大場面表現(xiàn)大事件，小場面用于情節(jié)的勾連、展現(xiàn)人物經歷的變化。場面的風格取決于敘事的風格，在托爾斯泰的小說中，抒情哲理色彩的場面風格與敘事風格是一致的。在陀思妥耶夫斯基筆下，諷刺、噱謔、緊張、沖突的敘述伴隨著富于戲劇性的場面。在《水滸傳》中，綠林兄弟的敘事與聚義反抗的場面互動，在《紅樓夢》中，榮寧王府興衰的敘事與寶黛愛恨的場面互補。不同的敘事風格呈現(xiàn)不同的場面風格。
程先生研究文學作品的場面，在學科性質上，屬于文藝學與俄羅斯文學的交叉研究。在方法論上，屬于跨文化研究。在對話與場面的互構上，屬于共時性研究。我國是一個歷史文化大國兼文學大國，歷時性研究是傳統(tǒng)國學研究的工具，共時性研究則有利于拓展歷時性研究，同時也能促進跨文化中國學的研究。程先生帶領師生將《戰(zhàn)爭與和平》與《水滸傳》，安娜·卡列尼娜與林黛玉、寶玉與安德烈都放到一個“場面”框架下中思考，令人眼界大開，又妙趣橫生。
程先生的授課語調平靜、思考深刻、視角獨特而邏輯性極強，對場面描寫和場景對話的朗讀生動細膩而波瀾不驚，可見英年讀書的沉浸，爛熟于心的作品功夫，與長期治學從教的深厚積淀。
劉曉林教授做課后講評。恰逢國際讀書日和“書香中國”日，他感慨地說，在這個日子里聆聽程先生授課，重拾對《蘇聯(lián)文藝》的回憶，喚起重讀名著的沖動，共享博覽群書的智慧，這正是對讀書日的一種致敬。程先生強調具體作品分析給我們帶來的新啟示是，語言教學的目標，是培養(yǎng)學生的文學觀察力和藝術感知力，理論抽象不能代替作品分析。青海師范大學文學院院長暨北京師范大學李國英教授講話，從人文學科建設的角度闡釋程正民教授投入西部教學的示范性意義。他深情地回憶說，自己是程先生那一代學者的后學，也曾有幸與程先生在北師大文學院（前身為中文系）的領導班子中共事多年，程先生重視繼承傳統(tǒng)、認真培養(yǎng)人才、大力加強教學科研改革，系統(tǒng)進行人文學科的建設工作，為北師大文學院的現(xiàn)代化轉型和特色化建設做出了重大貢獻。程先生在文藝學、俄羅斯文學和跨文化學等多領域也都取得了很高的成就。程先生淡泊名利、行事低調、為人謙和、與人為善，學為人師、身正為范，深受師生的愛戴，是廣大師生學習的榜樣。青海師大高原科學與可持續(xù)發(fā)展研究院曹昱源主任向程先生的精彩授課表示衷心的感謝！
Postgraduate General Course of the First-Level Discipline Chinese
Language and Literature of Qinghai Normal University
“Methodology of Transcultural Study on Chinese Society and Culture” Invites
Professor Cheng Zhengmin to Deliver Lecture on
“Scenes in Literary Works”
On April 9th, 2022, the seventh lecture of “Methodology of Transcultural Study on Chinese Society and Culture”, postgraduate general course of the first-level discipline Chinese Language and Literature of Qinghai Normal University, was delivered online by Professor Cheng Zhengmin, a famous Russian literature research expert and literary theory specialist of Beijing Normal University. The title of his lecture is “Scenes in Literary Works”. More than 60 participants attended the lecture online, including postgraduates and teachers from College of Chinese Language and Literature of Qinghai Normal University, Academy of Plateau Science and Sustainability of Qinghai Normal University, and College of Transcultural Studies of Beijing Normal University. Professor Liu Xiaolin, vice dean of College of Chinese Language and Literature, QNU, presided over the lecture.
The study of “scene” is not a big problem. It seems a little close to marginal knowledge today. Anyway it is a basic question that has been raised in scholarly history but has not been sustainably studied. According to Professor Cheng Zhengmin, Master Huang Yaomian who had been his supervisor during 1950s published an article in 1951 discussing the appearance of characters in the novel. Appearing on the scene has something to do with “scene”. Zhou Yang, a specialist of Marxist literary theory, also said in his early days that the study of literature and art theory should concentrate on three levels: basic concepts, basic works and basic training, namely, the analysis of works. In the 1950s, Professor Huang also taught young teachers, for instance，he analyzed the story of “The Oil Vendor and the Courtesan” from Stories to Awaken the World written by Feng Menglong. He did a very good job. He asked young teachers to choose articles for works analysis and basic training and graded their homework afterwards meticulously. In recent years, it is a pity that the literature research is in vogue to talk about the big truth, while the specific work research is insufficient. According to Professor Cheng, characters, plots and scenes are all elements of literary and artistic works. If we only study characters and plots and ignore “scenes”, we cannot go deep into the art world of works.
Professor Cheng’s lecture is divided into four topics: the concept of scenes, the role of scenes, large and small scenes and their correlation, and the style of scenes. He used five Chinese and foreign classics for his analysis, including War and Peace and Anna Karenina by Russian writer Leo Tolstoy, The Idiot by Dostoevsky, and the Chinese classical novels Water Margin and Dream of the Red Chamber. He pointed out that the scene is an important factor in the composition of the work. It is the life scene which is composed of the relationships between the characters in a certain time and space. The function of the scene is to promote the development of the plot, express the personalities and relations of characters. The big scenes show the big events. Small scenes are also essential for connecting the plots and reflecting the ups and downs of the character’s experience. Scene style depends on the narrative style. Tolstoy’s works with lyrical and philosophical scenes, Dostoevsky’s dramatic scenes, the gathering and rebelling scenes of forest outlaws in Water Margin, as well as the love and hatred scenes of Jia Baoyu and Lin Daiyu in Dream of the Red Chamber, all present themselves differently according to their different narrative styles.
In terms of subject nature, Professor Cheng’s discussion of scenes in literary works, belongs to the interdisciplinary study of literature and art and Russian literature. In terms of the methodology, it belongs to the transcultural study. Scene research is characterized by synchronic research, which can supplement diachronic research. China is a historical and cultural country as well as a literary country. Diachronic research is the tool of traditional Sinology research, while synchronic research is conducive to expanding the scope of diachronic research and promoting the research of transcultural sinology.
Professor Liu Xiaolin commented on the lecture afterwards. According to him, Professor Cheng emphasized the necessity of analyzing specific works to give us new inspirations. At the same time, Professor Cheng also told us that one of the goals of language teaching is to cultivate students’ literary observation and artistic perception, and theoretical speculation cannot replace analysis of works. Professor Li Guoying, dean of College of Chinese Language and Literature, QNU and professor of School of Chinese Language and Literature, BNU, explained the demonstrative significance of Professor Cheng Zhengmin’s engagement in teaching in western China from the perspective of humanities construction. Cao Yuyuan, office director of the Academy of Plateau Science and Sustainability of Qinghai Normal University, expressed his heartfelt thanks to Professor Cheng for his wonderful lecture.
(Trans. by Li Huafang)