摘要
在中国文学史上 ,海派文学的定名大约是在 2 0世纪的 30年代。但像上海这样一个城市 ,其自身的历史风貌和文化形象在文学创作上获得艺术再现并不是 30年代才出现的要求 ,而是开埠以来的洋场生活逐渐对文学创作发生影响的长期结果。自《海上花列传》以来 ,海派文学出现了两种传统 :一种是以繁华与糜烂同体的文化模式描述出极为复杂的都市文化的现代性图像 ,即突出现代性的传统 ;一种是以左翼文化立场揭示出都市文化的阶级分野及其人道主义的批判 ,即突出批判性的传统。 30年代的新感觉派与左翼文化把这两个传统推向顶峰。到 4 0年代 ,在张爱玲的艺术世界里 。
In Chinese literature, the denomination in the Shanghai style literature dated back to the 1930's. But the artistic representation of its historical features and literary images of a city like Shanghai is not just required in the 30's, but the long\|term result from the impact of the foreign life styles on literary creation since its opening\|up. After the publication of 'A Story of the Overseas Flowers', there appeared two traditions: One is a modern picture of the intricate metropolitan literature with a combination of extravagant and decadent writing styles, i.e. emphasizing the tradition of a modern feature. The other exposes the criticism on the class division of metropolitan literature and humanitarianism from the Left\|wing literary perspective, i.e. stressing the critical tradition. The New\|feel Party and the Left\|wing Folk Culture pushed the two traditions to a peak. In the 40's, the literary traditions of Shanghai style were eventually turned into a comparatively stable artistic category in the metropolitan folk life in Zhang Ai\|ling's artistic world.
出处
《杭州师范学院学报（社会科学版）》
2002年第1期1-6,共6页
Journal of Hangzhou Teachers College(Humanities and Social Sciences)
