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太平洋战争爆发后,久居北京的周作人开始对上海散文创作产生重要影响。纪果庵、文载道、柳雨生等青年作家在题材选择与表达方式等方面学步周作人。就政治选择而言,纪果庵、文载道等可算是大节有亏,但其作品既有民俗风物描摹背后的乡土之思、文史随笔式的借古喻今,又有关注现实的苦闷忧愤,笔端不时传递出沦陷区中国民众的悲哀与痛苦。相对而言,柳雨生亲日态度鲜明,媚日之文甚多,其忆述战前北大之文又态度暧昧。与纪果庵、文载道、柳雨生等人不同,黄裳坚守民族气节,其创作的文史随笔于无意中奠定了《古今》散文的基本风格。青年一代作家虽在取材与表达方式上接近周作人,但也渐与周作人分野,并开始与其对话。
After the outbreak of the Pacific War, Zhou Zuoren, who lived in Beijing for a long time, began to exert a significant influence on the creation of prose in Shanghai. Ji um, Wen Zai Road, Liu Yusheng and other young writers in the selection of topics and ways to learn Zhou Zuoren. As far as political choices are concerned, Jiuguoan and Wenzhaogou can all be considered deficits. However, both of his works contain the local thinking behind the description of folk customs, Anger, pen and paper from time to time convey the sadness and suffering of the Chinese people in occupied areas. Relatively speaking, Liu Yusheng’s pro-Japanese attitude is bright, and the text of Mei Ri is numerous. His recollection of the pre-war Peking University article also has an ambiguous attitude. Different from Ji Guo Um, Wen Zai Dao, Liu Yusheng and others, Huang Sang insisted on national integrity, and the literary history of his creation essays unintentionally laid the basic style of “ancient and modern” prose. Although the young generation of writers approached Zhou Zuoren in drawing and expressing ways, they gradually separated from Zhou Zuoren and began to talk to them.