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作 者:唐娒嘉
机构地区:[1]北京大学中文系,北京100871
出 处:《苏州教育学院学报》2017年第3期53-62,共10页Journal of Suzhou College of Education
摘 要:抗战时期,张恨水在重庆创作的《八十一梦》《魍魉世界》《傲霜花》三部社会讽刺小说,集中反映了战时知识分子的生存境遇、责任担当以及有关出路的矛盾选择。有着家室之累的男性知识分子在"生存"困难和"精神刺激"的双重折磨下彷徨不已,或固守岗位,或改作他行。通过小说的叙述,张恨水实际上阐释了其自身"坚守气节"与"安贫达命"的道德理想。而其对女性知识分子问题的论述,则笼罩在男性中心主义思想下,一定程度上暴露了其思想观念上的局限性。对于战时世界,他作了深刻的文化反思与人性自省,塑造出的一批知识分子群像也是其文化自省和道德反观的内在投射。作为通俗文学大家的张恨水,更加明确而努力地向新文学靠拢,接受新文学的主要创作态度和方法,贯穿着从人民大众根本利益出发的正义感和民族忧患意识,但在"靠拢"过程中又不自觉地表现出了内心的彷徨与徘徊。During the Anti-Japanese War, Zhang Henshui wrote in Chongqing the three social satire novels of Eighty-one Dreams, The Shadows of the World and Frost-fghting Flower, which refected intensively the wartime intellectuals’ living conditions, responsibilities and commitments, and the contradicting choices concerning life solutions. Burdened by families and tortured by both “survival” diffculties and “spiritual stimulation”, the male intellectuals were deeply trapped in a dilemma, and some of them stuck to their positions, while some others shifted to other careers. By means of novelistic narration, Zhang Henshuiexpounded on his moral pursuit of “sticking to moral principles” and “complying with poverty and fate”. Zhang’s discussion of issues concerning female intellectuals was surrounded by a strong male chauvinistic atmosphere, which exposed to some extent his ideological limitations. Zhang made profound cultural reflections and human nature introspection against the wartime world, and the group images of various intellectuals are also the internal projection of his cultural and moral introspection. As a great popular literature writer, Zhang Henshui increased more definitely his efforts to embrace new literature, and to adopt the major attitudes and approaches of new literature, which embodies his sense of justice rooted in the basic interests of the masses, and his awareness of the nation’s unexpected development. However, in the process of “embracing”, Zhang expressed unconsciously his inner bewilderment and perplexity.
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