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二十年代旧派文人的上海书写

Old Litterateurs in 1920s Describing Shanghai  

【作者】王进庄 【导师】陈思和

【作者基本信息】华东师范大学，中国现当代文学，2007年，博士


【摘要 (中文/英文)】 据有关资料统计，经过“五四”新文学家口诛笔伐的旧派文学，到了二十年代并未销声匿迹，反而迎来它的“中兴”时期。为什么在二十年代新文化和新文学运动愈演愈烈的时候，旧派文人和旧派杂志还能够拥有数量巨大的现代市民群体?这与二十年代旧派文人在新的文化环境中的转型和新的都市书写方式的开创是分不开的。 本文是以二十年代盛行的《礼拜六》、《红杂志》、《紫罗兰》为主要研究对象，分析传统文人面对群体转化和向新的生存方式开拓时，在传统的书写形式中如何展开对上海的都市书写。二十年代旧派文人从都市空间的营造和都市理性的发现的角度开创了书写上海的新范式。此外，从与都市空间、都市消费文化有机联系的角度理解旧派文人(特别是二十年代旧派文人)的现代性意义也是本文的学术目的。但本文并不准备用“现代性”为二十年代旧派文人戴上高帽，二十年代旧派文人的现代性仅仅是指二十年代上海本土化的现代性，与西方真正意义上的现代性根本不同。 各章的内容大致如下： 导论部分首先介绍论文关注的焦点是“都市、知识分子和文学”，在知识分子(旧派文人)转型和与都市消费社会的背景上建构我个人研究的阐释空间。其次针对学术界隐晦的将“二十年代上海”和“旧派文人”作为非现代的因素剔除出研究视野的不足，指出二十年代上海已经是一个充满新异的都市景观和消费文化魅力的都市，并讨论了旧派文人遭遇的现代性的困境及其现代性的复杂之处。再次提出了本文的研究方法及为什么要选择《礼拜六》、《红杂志》、《紫罗兰》这三份期刊来谈二十年代旧派作家的上海书写的原因。 正论部分第一章主要阐释一、二十年代旧派文人的转型和二十年代文人的现代性。一○年代旧派文人的价值立场定位于精英意识，二十年代旧派文人的价值立场定位于都市民间，两者在活动区域、谋生手段、对都市生活的了解、商业经营策划能力、文学功能观上都有较大差异。二十年代旧派文人通过对现代性“器物”(现代传媒和大众娱乐产业)的占有和现代意识的演绎，形成市场化的现代传媒和大众娱乐产业主导下的公共空间，参与都市文化建设，表现出鲜明的现代性。 第二章梳理了从晚清民初到二十年代旧派文人上海书写的历程。晚清民初文学中的上海叙述方式有两种：一种是在农业文明和传统消费方式的阴影中书写上海，另一种是被赋予民族国家想像和现代化想像的意义。而二十年代旧派文人笔下的上海被置于消费主义和新旧思潮交锋的背景之下，政治性内涵被消解。二十年代旧派文人的上海书写与五四小说的都市意识相比较，两者也存在着较大的区别。 第三章至第五章分别从“都市伦理”、“都市景观”、“都市情感”三个角度阐释了二十年代旧派文人文化视境中的上海书写。 第三章论述都市伦理。二十年代旧派文人面对金钱和新思潮泛滥，充满伦理的焦虑，但他们的伦理观不同于封建伦理，也不是一○年代旧派文人所坚持的改良礼教。他们试图合理规划现代世俗生活和家庭伦理秩序，并且探讨自由恋爱、女子堕落、男女平等、家庭成员关系中的伦理观念。但他们并没有建构起一套系统的适应现代社会的伦理。 第四章论述都市景观。二十年代旧派文人着眼于服饰、行乘、娱乐和经济等多种日常生活，构筑起一片开阔、喧闹、丰富多彩的消费空间。新的都市空间的开拓，娱乐市场、资本市场的形成，消费主义的日常生活方式的盛行，都拉开了上海与传统城市的距离，赋予其西化的本色。但因为遭遇了现代性困境的旧派文人混乱的现代意识，旧意识和传统腐朽的生活方式也包含在西化的都市景观之中。 第五章论述都市情感。首先论述了随着都市个性的加强，都市婚恋呈现出尴尬处境：既写出都市理性或者契约原则对情感婚恋的影响；又保持了民初“唯情主义”的思想观念，继续张扬对情的无边迷恋。其次论述了言情小说“士子和青楼妓女”和“才子佳人”两大言情模式的变异：前者出现人道主义同情和与“才子佳人”言情传统合流的趋势；后者写世俗、平凡、平庸的男女之情，而且出现社会化的嫖妓和卖淫行为。再次讨论了都市感情的倾向：指出新式恋爱的真相是男子看中女子色相，女子看中男子金钱；作为心灵世界的弥补，出现了新的“哀情”模式。 综上所述，本文认为，二十年代旧派文人及其上海书写具有“被压抑的现代性”。二十年代旧派文人的精神面貌主要来自现代蓬勃生长的都市大工业生产、消费主义及由此形成的都市文化环境。二十年代旧派文人的上海书写，处处也透露出一种同样作为市民阶层的旧派文人的知识结构、艺术观念、审美趣味与趋新求变、繁复多元的都市生活方式之间共生又审视的心态。

Based on statistic of related materials, old literature didn't disappear in 1920s as expected but grew with resurgence, after being condemned both in speech and writing by new litterateur in May 4th Movement. Why old magazines and litterateurs still keep plenty of fans in modern citizens, meanwhile new literature is popular in 1920s? It's related to transition of old litterateurs in new literature environment and creation of new urban written style. With Saturday, Red Magazine, and Violet which are popular in 1920s as major research objects, the article analyzes that how traditional litterateurs spread urban description of Shanghai with traditional written style, when they were confronted with group transition and started to create new survival style. In 1920s, old litterateurs create new shanghai description pattern, through building up urban space and finding urban sense. Furthermore, another target of the article is to understand modernity meaning of old litterateurs (especially those in 1920s), with a viewpoint of organic relationship of urban space and urban consume literature. But here we are not ready to highly appraise old litterateurs with modernity, for their modernity was only the representation of localization of Shanghai during those days and was totally different from those in western culture. The glance at each chapter is as follows: The prelude part introduces firstly the focus of the article is, urban district, litterateurs and literature, and based on the background of old litterateurs' transition and urban consume society. Secondly, the article points out the pitfall of academe to take shanghai in 1920s and old litterateurs away darkly from their research viewpoints as non-modern factors. In fact, Shanghai in 1920s already was the city with fantastic urban landscape and charming consumer culture. Also it discusses the difficult situation when old litterateurs encounter modernity and complexity of their modernity. Thirdly, it presents the research methodology of the article, and the reason to choose Saturday, Red Magazine, and Violet to discuss urban record of old litterateurs in shanghai in 1920s. Chapter one discusses the transition of old litterateurs in 1910s and 1920s, and their modernity. Universal value of old litterateurs in 1910s positions elite consciousness, while old litterateurs in 1920s present citizen consciousness. The two differ in activity region, means to make a living, acknowledge of urban life, business plan ability, and functional value of literature. Old litterateurs in 1920s present vivid modernity by describing modern media and public entertainment. Chapter two reviews the history of old litterateurs describing Shanghai from late Qing Dynasty to 1920s. In late Qing Dynasty, there are two ways to describe Shanghai: one is under the background of agricultural civilization and traditional consumption pattern, the other is endued with national envision and modern envision. However, in 1920s, old litterateurs describe Shanghai under the background of consumption pattern and the interleaving of old and new thought, where political meaning disappeared. There is still much difference between the written style of old litterateurs in 1920s and the urban consciousness of new litterateur in May 4th Movement. From chapter three to chapter five, I analyze old litterateurs in 1920s describing Shanghai in three aspects: urban ethic, urban sight and urban emotion. Chapter three discusses urban ethic. Facing money and the population of new thought tide, old litterateurs in 1920s worried about ethics. But their ethics is different from feudal ethics and reformative ethics. They tried to arrange rationally modern mundane life and family ethics value, and discussed ethics in free love, female corruption, equality between men and women, and family relationship. But they had not yet built up one ethics system to adapt to modern sociality. Chapter four discusses urban sight. Old litterateurs in 1920s focused on many kinds of daily life events like dressing, travel, entertainment and economy, and describe a broad, noisy, and colorful consume space. Creation of new urban space, forming of entertainment market and capital market, population of daily consumption style, all of them draw distance of shanghai from other traditional cities, giving shanghai westernization. However, because old litterateurs were lost in situation of modernity, Westernized urban sight also contained their old consciousness and traditional corrupt life style. Chapter five discusses urban emotion. At first, following the strengthening of urban individuality, discomfiture appears in urban marital and amorous status. On one hand, Old litterateurs in 1920s expressed the influence of urban logos and principle of contracts on marital and amorous status. On the other hand, they also expressed the conception in the early period of the Republic of China that love is most important. Secondly, Old litterateurs discussed the variations of two patterns of romantic novels: intellectuals and prostitutes, and gentlemen and ladies. The former impersonated humanistic pity and the trend to be similar to the pattern of gentlemen and ladies. The later described mundane emotion between men and women, including whore and bawdry. Thirdly, Old litterateurs discussed the trend of urban emotion, pointing out that the reality of new style of love is that men were attracted to women' appearance while women were attracted to men' money. And a new pattern of distressed affection appeared as compensation to mind. Therefore, old litterateurs in 1920s and their description of shanghai reflects depressive modernity. Their mental outlook sources from modern growing urban industry, consumption and then urban culture environment. Shanghai description of old litterateurs in 1920s, presents their mood as citizen class which accompany and examine their intelligence structure, artist viewpoints, esthetic interest, and complex urban life style.

【关键词 (中文/英文)】 旧派文人; 现代性; 上海; 二十年代 old literatures; modernity; shanghai; 1920s

【发表年期】2007年03期 【网络出版投稿人】华东师范大学 【DOI】CNKI:CDMD:1.2007.083028 攻读期成果