民国初期上海消闲杂志与名花美人的文化政治  

The Popular Magazines and Their Cultural Politics of Flower and Beauty in Early Republic Shanghai

作　　者：陈建华[1] 

机构地区：[1]上海交通大学人文学院,上海200240

出　　处：《学术月刊》2015年第6期131-143,共13页Academic Monthly

摘　　要：名花美人与抒情传统源起于《离骚》的"香草美人"的审美政治,自17世纪以来经历了文学文化世俗化的过程。才子佳人小说、百美图等为市民大众所喜闻乐见,成为表现民族"情感结构"的艺术形式。研究20世纪20年代《社会之花》《红玫瑰》和《紫罗兰》这三种消闲杂志,发现它们不同程度地体现了中产阶级核心家庭、自我完善、新旧兼备的文化议程,与上海租界的特定历史条件相联系,几乎成为一个资本自由流通和交换的乐观时代的象征。在20年代末社会政治条件恶化的情形中,这一传统已处于内外交困的境地,从更深的层面来看,它是与市民社会的公共空间一起萎谢的。Originated from the aesthetics and politics of ＂fragrant plant and beautiful woman＂ in ancient Chinese literature, the lyric tradition of flower and beauty underwent a secular transformation in the seventeenth century. Various forms of this tradition such as the talent-beauty fiction and pictures of hundred beauties represented national structure of feeling. This essay outlines how the tradition of flower and beauty revived since late Qing and focuses on three popular magazines The Social Flower, The Red Rose, and The Violet in 1920s Shanghai, revealing how they differently embodied the middle class＇s cultural agendas of nuclear family value, self-fulfillment, and old-and-new linguistic practice. Facilitated by political and economic conditions in semi-colonial Shanghai, these magazines became a symbol of free spirit and capital fluidity in a time of optimism. Yet along with worsening political and social situation, this tradition of flower and beauty had its crisis, and in deep analysis, it withered with the decline of civil society and cultural spaces in modern China.

关 键 词：消闲杂志 名花美人《红玫瑰》《紫罗兰》文化政治 

分 类 号：K203[历史地理—历史学]