从“亭子间作家”与“封建小市民”的关系谈起——读《霓虹灯外——20世纪初日常生活中的上海》有感

From the Relationship between "Pigeonhole Writers" and "Feudal Petty Bourgeois"——Reading Beyond the Neon:Shanghai in the Daily Life of Early 20th Century

精英作家因市民阶层不热衷于新文学作品,却对通俗小说有一种天然的"亲和力"而感到失望与焦躁,于是斥责这一读者群体为"封建小市民"。"小市民"这一颇为模糊的概念可以被重新界定。"亭子间作家"与"小市民"产生隔阂有其深层原因。"为人生"与"为生活"虽仅一字之差,但却分出了精英文化与平民文化的读者群的不同需求。就文化的多元格局而言,这种"对峙"并非是"僵局",反而因两者的"韧性"与"互补"显示了大都市的多样化和无穷魅力。

Elite writers were disappointed and anxious because petty bourgeois showed a natural affinity to popular novels but were indifferent to their new literary works, so they called these readers ＂feudal petty bour-geois＂. We will redefine the vague concept of ＂petty bourgeois＂, analyze the deep reason why there was a veil between the ＂pigeonhole writers＂ and ＂petty bourgeois＂, and show that the one character difference between ＂wei reu sheng＂ and ＂wei sheng huo＂ tells the different needs on the part of different readers of elite culture and popular culture. In the plural structure of culture, such confrontation between elite culture and popular culture has not lapsed into stalemate, but showed the metropolitan variety and charisma through their toughness and eomplernentation with each other.