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20世纪三四十年代的海派小说家在努力描摹上海现代性的同时,也通过创造一系列的传统抒情意象,如上元灯、胡琴、雨、月亮、紫丁香等,使海派小说呈现出一种与现代性迥异的表现层面,即传统意蕴。它一方面丰富了海派小说的文学背景,赋予小说传统性的文学底色,另一方面也使得人物形象更加丰满与真实,还原了海派文学发生的现场。在此基础上,海派小说也获得一种传统与现代互渗的审美效果,更是彰显现代文学民族性的重要体现。
In the 1920s and 1940s, Shanghai-style novelists endeavored to trace the modernity of Shanghai while at the same time creating a series of traditional lyric images such as lantern, erhu, rain, moon, lilac Different from modernity, it is the traditional meaning. On the one hand, it enriches the literary background of Shanghai style novels, gives the traditional literary background of the novel, and on the other hand, it makes the characters more full and true, restoring the scene of Shanghai literature. On this basis, the Shanghai School novel has also obtained a kind of aesthetic effect of the mutual infiltration between tradition and modernity, and it is an important manifestation of the national character of modern literature.