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中国现代文学史上的海派小说叙事,上承鸳鸯蝴蝶派而来,下至张爱玲告一段落,近于把晚清到五四中国小说叙事结构模式转变的道路又走了一遍。但这次重走与先前已经大不相同,无论从时代背景还是从小说技巧来看,两者都有显著的差异,甚至后者表现出了对于前者的某种超越。这是曾经饱受诟病的海派小说对中国现代文学发展的一个贡献。本文将从讲故事、写景观、写心理三个方面的分析中对海派小说叙事结构的发展流变作一梳理,并以此重估海派小说在中国小说现代化进程中的独特地位。
In the history of modern Chinese literature, the narration of Shanghai style novels came from the school of the Yuanyang Hudd and come down to the ending of Zhang Ailing, which is almost the same as the way of transforming the narrative structure of Chinese novels from the late Qing Dynasty to the May 4th Movement. However, this re-departure has been greatly different from the previous one. Both in the background of the times and in the novels, there are significant differences between the two. Even the latter shows some transcendence of the former. This is a once criticized Shanghai novel that contributed to the development of Chinese modern literature. This essay will sort out the development and changes of the narrative structure of Shanghai style novel from three aspects of story telling, writing landscape and writing psychology, and then re-evaluate the unique position of Shanghai style novels in the process of modernization of Chinese novels.