从“白相”到“漫游”——清末民初上海叙事里的游逛者与现代性  

Wanderers,Tourists,and Modernity in the Narrative of Shanghai Colony in the Late Qing Dynasty and Early Republic of China

作　　者：汪贻菡 WANG Yi-han(School of Literature,Tangshan Normal University,Tangshan 063000,China)

机构地区：[1]唐山师范学院文学院,河北唐山063000

出　　处：《唐山师范学院学报》2025年第1期27-32,共6页Journal of Tangshan Normal University

基　　金：教育部人文社会科学青年基金项目(19YJC751041);唐山师范学院科研基金项目(2019A01)。

摘　　要：清末民初上海故事里有三类游逛者:一类是以游耍为目的的白相人,赏玩街景的同时也使自己成为景观;一类是观光者,记录并审视上海都市现代性,用返乡回避对现代性弊病的解决;第三类是都市谋食者,他们将都市闲逛发展为精神觉醒,作为进城者认知都市文明、谴责殖民罪恶,作为离乡者反思乡土文明、发现阶层压迫。对洋场游逛者形象变迁的考察,也是梳理近现代上海通俗叙事中被忽视的现代性主体的发生。There are three types of wanderers depicted in Shanghai stories from the late Qing Dynasty to the early Republic of China.The first type is the“Bai Xiang Ren”(a term used in Shanghai dialect for those who enjoy leisurely strolls),who,while enjoying the streetscape,also become a part of it.The second type are tourists who document and scrutinize the modernity of Shanghai,often choosing to return home as a way to avoid addressing the flaws of modernity.The third type are urban livelihood seekers who transform their urban wandering into spiritual awakening,gaining insights into urban civilization as city dwellers,condemning colonial atrocities,and reflecting on rural civilization as those who have left their homelands,discovering class oppression.Examining the evolution of these wanderer images in Shanghai Colony narratives is also a way to uncover the emergence of modernity subjects that have been overlooked in popular narratives of modern Shanghai.

关 键 词：洋场叙事 清末民初 漫游者 现代性 

分 类 号：I206.5[文学—中国文学]