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在上海小报发现的一系列40年代海派作家佚文中,《郁金香》是张爱玲创作高峰的绝唱,东方蝃(?)的《补情天》是40年代海派文学的关门之作。考察海派文学整体发展脉络,它是在经历了一段先锋的张扬之后,走向通俗的。这就为现代文学史、小说史提出了新的问题,“五四”以来新文学成熟文体到此时已部分脱离了先锋的轨道,进入都市市民普遍能够接受的日常文学视野。适当引进“新文学是如何走向市民读者和大众读者”的界面,便有可能获得别开生面的文学史眼光。
In a series of essays by Shanghai Writers of the 1940s found in Shanghai tabloids, “Tulip” is the epic poem of Zhang Ailing’s creations, and “Complementarity” of Dongfan is the closing of Shanghai literature in the 1940s. Investigating the whole context of the development of Shanghai literature, it is after going through a pioneering publicity, to popular. This poses new problems for the history of modern literature and history of fiction. Since the May 4th Movement, the mature literary style of new literature has now partly escaped the vanguard of the vanguard and entered the daily visual horizon that urban citizens generally can accept. Appropriate introduction of “how new literature is going to citizen readers and mass readers” interface, it is possible to get a unique view of the history of literature.