海派散文的都市语境

The Urban Context of Shanghai-style Prose

与周作人在《雨天的书·自序一》中勾勒的典型的五四式的"闲话"情境不同,30年代的海派散文营造的是一种都市化的"茶话"情境。章衣萍主持的《文艺茶话》以及《申报》上的专栏《咖啡座》都体现了这种海派散文创作的原发性语境,同时也要求一种与之适应的阅读情境。海派散文也由此与大都会的气质构成了同一的关系,都会滋养了海派小品,而海派散文也描摹了都市。都市的繁复性、日常性、先锋性、刺激性……都构成了海派散文的主体内容。而在表象上,海派散文则表现了作家们都市体验的复杂性甚至悖论性。

Unlike the typical context of May-4th-Movement-style ＂gossip＂ depicted by Zhou Zuoren in The Book of Rainy Day： Preface I, Shanghai-style prose in 1930s created the context of the urban-style ＂tea gossip.＂ Both ＂Tea Gossip＂ of Lit- erature hosted by Zhang Yiping and his Cafe column in Shen Newspaper represented this primary context of Shanghai-style prose and at the same time they made a demand for a reading context which corresponded with it. As a result, the Shanghai- style prose and the city are isomorphic in disposition： the city nourishes Shanghai-style prose, and meanwhile, Shanghai-style prose depicts the city. The complexity, ordinariness, pioneering spirit, and irritation-., of the city formulate the main content of the Shanghai-style prose, but on the surface, the Shanghai-style prose represents the complexity and antinomy of the urban experience of authors.