论张爱玲“琐屑描写”中的历史和政治无意识

On the Political-Historical Unconscious of Eileen Chang's Descriptions of "Triviality"

张爱玲对于琐屑细写与"私人性的"日常生活的冷静的巨细无遗的记录与编码,是在一个"一切坚固的都烟消云散"的时代,对于可把握的坚实的东西的韧性的坚守。它既是作者受中西结合的教育而导致的对精巧、颓败的社会礼节的浸淫其中的结果,也是一个繁荣的商业流行文化的享乐主义传统在各种文化建制上留下的深刻烙印的产物。这种写作对消费的仪式化需要放在中国社会其时现代性所达到的阶段,以及它所深陷的特定状况来理解。对"苍凉"的美学状态的偏好也只不过是一种感觉弱势与无奈的社会情绪的投射,一种对待社会矛盾和阶级冲突(表现为人际间冲突或家族内斗)的孱弱品格的移置。

The meticulous and sober documentation and codification of the trivial details and private, mundane experience is to hold to the tangible and the substantial in an era when ＂all that is solid mehs into air.＂ It is both a result of Eileen Chang＇s upbringing in a high-ranked aristocratic family and thus her immersion in that refined （but also decadent, given that it was residual and losing much of its cultural sophistication） social etiquette, as well as an outcome of her comprehensive reading and deep understanding of the literary texts of Ming and Qing dynasties, when a hedonistic tradition of the commercialized popular culture had made strong imprints on the cultural institutions.