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新感觉派是20世纪20年代末、30年代初出现于中国文坛的现代主义小说流派,这个小说流派受法国现代主义作家保尔·穆杭和日本“新感觉派”作家恒光利一、川端康成、片冈铁兵等人的影响。从1928年刘呐鸥创办的半月刊《无轨列车》开始,新感觉派作家先是翻译法国的作品,然后又在杂志上创作。新感觉派作家的主要特征是用现代的表现技巧来描绘快节奏的都市生活,固然其中运用了西方的象征、意识流等手法以及受弗洛依德精神分析的影响常常表现人物的下意识和潜意识,但新感觉派作家的这些写作手法和当时上海这个半殖民的大都市背景还是分不开的。且新感觉派作家大多都是出入于现代娱乐场所的纨绔浪子,新式的综合娱乐空间对他们的影响不可谓不大。本文从开放式综合娱乐空间入手,研究这种空间对新感觉派小说方方面面的影响。
The New Sensation School is a genre of modernist novels that appeared in the Chinese literary world in the late 1920s and early 1930s. The genre of the novel is influenced by the French Modernist writer Paul Muhung and Japan’s “New Sensationist” Kawabata Yasunari, Kataoka iron soldiers and others influence. From the semi-monthly “trolley-bound train” founded by Liu Naou in 1928, the new sensationalist writer first translates works from France and then works in magazines. The main feature of the neo-sensual writers is the use of modern expression skills to depict the fast-paced urban life. Although using Western symbols, stream of consciousness and other means and being influenced by Freudian psychoanalysis often show subconscious and unconscious characters , But these writing styles of the new sensationalism writers are still inseparable from the semi-colonial metropolitan background of Shanghai at the time. Most of the new sensationalist writers are wandering prodigals who come and go to modern entertainment venues, and the impact of the new integrated entertainment space is immeasurable to them. This article starts with the open entertaining space and explores the impact of this space on all aspects of the new sensationalism novel.