错位想象与新地景:论20世纪30年代上海左翼文坛的东北书写  

Dislocated Imagination and New Landscapes:Analyzing the"Dongbei"Writing of the Shanghai Leftwing Literary Circle in the 1930s

作　　者：黄晶晶 Huang Jingjing

机构地区：[1]香港大学中文学院,中国香港

出　　处：《励耘学刊》2024年第2期278-294,316,317,共19页

摘　　要：在以往的研究中,我们常将20世纪30年代上海左翼文坛对“东北”的想象等同于1935年以后流亡东北作家群的叙述,忽视了艾芜、李辉英、丁玲等人早已展开的对“九一八”事变之后东北民众的书写。通过考察《咆哮的许家屯》《万宝山》等小说,我们可以发现这种借由“东北”想象“革命起点”的写作普遍存在一种“错位”,这一方面来自真实性的缺乏,没能关注到东北早已卷入帝国主义的经济殖民进程,因而将反抗塑造成“突变”的革命;另一方面,过于强调“东北”沦陷作为国家危急时刻的寓言想象也削弱了东北问题本身的特殊性。在这个意义上,东北流亡作家群书写中呈现的“新地景”因其“真实性”和“日常性”提供了另一种想象“东北”的方式。Previous research has often conflated Shanghai's imagination of"Dongbei"with the narratives produced by the Northeastern Writer Group after 1935,overlooking the fact that authors such as Ai Wu,Li Huiying,and Ding Ling had already begun depicting people's lives in Northeast China after the"September 18th"Incident.Through an analysis of the novels like"Pao Xiao de XuJiatun"and"Wanbaoshan,"this article demonstrates how these early writings exhibit a general""dislocation"by imaging"starting point of the revolution"through""Dongbei".This dislocation arises,on one hand,from a lack of authenticity,as it fails to recognize the deep involvement of Northeast China in the economic colonization process of imperialism,so frames resistance as a"sudden change"revolution.On the other hand,the overemphasis on the allegorical significance of the"Northeast"as a symbol of national crisis weakens the region's unique characteristics.In this sense,based on its"authenticity"and"everydayness",the"new landscape"presented in the writings of the Northeastern Writer Group offers a fresh perspective for imagining Northeast China.

关 键 词：上海左翼文坛 东北 错位想象 新地景 

分 类 号：I20[文学—中国文学]