革命现代性语境中失语的“大他者”——论“十七年”文学的上海书写

The Aphasia of "Big Otherness" in Context of Revolutionary Modernity——Description of Shanghai "17-year Literature"

在现代文学中独领都市文学风骚的上海,1949年后,遭遇到了自己的尴尬境地。在红色共和国追寻革命现代性的主流话语规训下,上海,作为主流意识形态言说革命现代性的话语承载"主体",在"十七年"文学的上海书写中历经几度变形。在主流革命话语叙述视野中,上海的现代性承载"主体"角色,被工农兵革命者赋予了道德化的变色外衣。由于对城市疑虑、警惕、恐惧,表现在文学中便是对上海的"恶魔化"处理,上海作为腐蚀革命意志的渊薮,成了一朵"恶之花",成了革命者对城市恐惧症的替罪羊。经过一系列改造的知识分子话语诉求载体的上海开始遵循当时主流意识形态话语的规训和召唤,向主流意识形态靠拢,并最终实现了自己的"红色转身"。上海作为共和国追寻革命现代性的异数与另一种风景,"小资"式的华丽与精致的"狐步舞"却又在红色的外衣下悄然现行,勾起了人们对繁华的艳羡目光和现代梦的渴望。在共和国追寻现代的革命语境中,上海始终无法以自己的话语言说自己,无奈地几度上演"变形记",尴尬地成了失语的"大他者"①。

As the leading role of urban literature in modern literature, Shanghai has experienced its embarrassed position since 1949. In the mainstream discourse of Red Public＇s pursuit of revolutionary modernity, Shanghai, the discourse carrier of revolutoinary modernity expressed by mainstream ideology, has been reshaped several times in the description by ＂ 17-year literature＂. This role of Shanghai has been covered with morality coat by revolutionaries of worker, peasant, and solider. The doubt, vigilance, and fear of city is presented as the evil of Shanghai in literature, as a result of which Shanghai becomes the place to destroy revolutionary will, and the evil of flower, that is, the scapegoat for revolutionary＇ s fear of city. After a series of reshaping, Shanghai has begun to follow and approach the mainstream ideology discourse and finally realized its red turn. However, as the heathen of Public＇ s pursuit of revolutionary modernity on the one hand and the representative of bourgeoisie life style on the other hand, Shanghai also attracts people＇ s admiration and desire for prosperity. In other words, in the context of Public＇ s pursuit of revolutionary modernity, Shanghai has not been able to describe itself by its own discourse and experienced distortation several times helplessly, that is, the embarrassed aphasia of ＂big otherness＂.