张爱玲与无产阶级文学

Eileen Chang and the Proletariat Literature

自由主义作家张爱玲曾对自己只会写"阿妈的故事"而不会写无产阶级的故事充满自信和自豪。1940年代中期后,她却一再思虑自己与主流文学(无产阶级文学)的关系,且担忧自己在主流文学史中的地位。张爱玲尝试开拓一个更迎合时代的写作领域。1950、1951两年,她在《亦报》连载《十八春》和《小艾》可看做她极力想"靠左"创作的代表。但自1952年离开大陆后写的《秧歌》和《赤地之恋》则被看做是右翼甚至是反共的作品。事实上,面对翻天覆地的新时代,不只张爱玲出现创作摇摆,众多作家如朱自清、张天翼等都不得不重新审视自己的文学观念,而且出现普遍无所适从的创作困惑。

Eileen Chang, a liberalism writers, was famous for her literary genius and full of self-confidence and pride for that she was not good at the proletariat literature and was only able to write ＂grandma＇ s story＂. Since1940s, under the influence of the strong era ideology, Eileen Chang had to rethink her relationship with the mainstream literature and her position in the history of literature. Eileen Chang made an attempt to develop a newcreation field, to meet the era of writing. During 1950 - 1951, Eileen Chang in her pen name LiangJing, published two novels in the newspaper： Eighteen Spring and Xiao Ai. The two novels can be regarded as her efforts to getclose to the mainstream literature. But the other two novels The Love Story in the Red Field and Yang Ge Dance, published in 1952 when she left the mainland and went to Hongkong, is always regarded as right-wing and anti-Communist works. The fact was, face to the completely new era, not only Eileen Chang, but many writers such as Zhu Ziqing and Zhang Tianyi, had to re-examine their literary ideas, and were generally confused what to write orhow to write.