惊险与惊艳的辩证法:从傅葆石的《灰色上海》说起

Dangerous Pleasures: Rethinking the Occupied Shanghai Culture with Reference to Poshek Fu's Book

傅葆石的著作《灰色上海》以"隐、忠、降"的三分模式探讨了沦陷时期上海文人的不同反应,揭示了过去"非黑即白"思路下种种视而不见的幽微面目。全书立足于跨学科的立场,尝试将文人的种种抉择看成是一个动态的历史过程,而非一系列静止的结果。当然,这种三分模式的问题在于它仍然立定男性精英的话语立场,每每对女性及其可能性置若罔闻,同时对大众的战时反应也有所轻忽。尽管傅葆石一再提醒沦陷区作为军事侵占的后果,其不可避免地在地理上成为一个孤立的存在,但就文化和社会关系而言,其仍然是"自由"中国的一部分。不过,在此连续的传统和周遭关系中,傅葆石显然对某些更为小众或通俗的传统有所屏蔽,譬如喜剧、娱乐和女性文学。这些无关痛痒甚或不合时宜的文字,极有可能展现了民族、国家更为辩证的维度,并接续到世纪之初梁启超等人所汲汲营建的世界和新女性想象。

Poshek Fu＇s book, Grey Shanghai, discusses the intellectual choices available in the occupied Shanghai by looking into the themes of passivity, resistance and collaboration. His book challenges the simplistic dichotomy of resistance/non-resistance that has so far structured the conventional narrative of war-time shanghai. This book takes an interdisciplinary standpoint and hereby regards the intellectuals＇ multiple choices as dynamic rather than static; nevertheless, it still overlooks the responses the women and also from the masses because of its male/elite perspective. Fu reminds us repeatedly that Shanghai, as a consequence of military occupation, inevitably is an isolated space, whereas the city symbolizes ＂free＂ China in light of cultural and social interactions. Although Fu pays attention to the continuity of tradition and also incorporates different spaces, he excludes the subtle fuctions of the popular culture especially from the minority group, such as comedy, the sentimental and female literature. This cultural fashion appears insignificant to the grand history, but it nonetheless testifies to the dialectical dimensions of national discoure, and further inherits the new world and new women Liang Qichao once imagined at the turn of the 20th century.