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作 者:易惠霞[1]
出 处:《湖南商学院学报》2008年第6期115-117,共3页Journal of Hunan Business College
摘 要:空间与人紧密结合在一起,通过空间表现人,又通过人赋予空间以意义。茅盾的上海情结有别于其他现代中国作家,他借《子夜》中吴公馆这一空间,以审视的姿态,把上海放在一个国际、国内政治经济的宏大视野下来观照,既有对生产文化、传统文化、消费文化的叙述,还有对关于工农运动的政治文化的书写,并赋予吴公馆这一独特空间以强烈的都市形象意义:既是某种程度上对传统文化的颠覆,也是作家对畸形消费文化的否定,同时,还是对政治文化的遐想与探索。吴荪甫血本无归被迫出走上海的结局,表现了生产与消费的矛盾,也表现了殖民主义与民族主义的背景下其他各种力量的冲突。吴荪甫的失败并非个人性格所致,而是理想与现实互相矛盾不可调和的结果。then through the viewed Shanghai The space and the human are closely combined, performing the person through the spaco, and human to give the space meanings. By the space of Wu residence in 〈 Midnight 〉 , Mao Dun in the Grand vision of international and domestic political economy, and then overlooked Shanghai with scannable, calm and political gesture from a height, which gives the unique space Wu residence with a strong sense of the city image: not only a subversion of the traditional culture in some degree, but also a negation which the writer gives to the abnormal consumption culture, at the same time, it is also the reverie and exploration on the political culture. The ending that Wu Sunfu was forced to leave Shanghai with nothing showed the contradiction between production and nationalism. and consumption, and it also showed the conflict of other forces in the background of colonialism Sunfu's the failure is not due to the personal character, but the result of the contradiction with the irreconcilable of the ideal and the reality. In the view of Shanghai cultural, Mao Dun had stated the production culture, traditional culture and consumption culture, and also described the political culture of the Worker - peasant Movement. Therefore, Mao Dun's Shanghai complex is different from the other modern Chinese writers. As the representative of a new cultural space, the Wu residence provided the opportunity of re - self - authentication for the ancient Chinese's descendants.
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