上海的忧郁:城市诗学与时代症候——从新感觉派到王宏图

The Spleen of Shanghai: Urban Poetics and Symptoms of The Times——From the Neo-sensationalism to Wang Hongtu

忧郁是现代性与城市诗学的核心内容。它不仅制造了中国现代知识人"苦难与爱的悖论",也沉淀为"丰富的痛苦"。作为悖论的投射,新感觉派展现出"革命"与"摩登"的同流异趋,其面向"内在"与"当下"的书写,开启了救亡与启蒙之外的感性革命道路。相比新感觉派的现代性书写,当代上海的城市书写进一步刻画出"现代性美学"终结时代的凝滞面貌。与"欣快狐步舞"不同,这是后现代城市诗学成熟时期的"忧郁巴洛克",是知识分子人格化忧郁的写照。从新感觉派到王宏图,巴洛克诗学不仅深陷现代派"词语的游戏""感觉的色拉",更有"形而上的绝望",从形而下的身体快感到形而上思想的忧郁,艺术成为掩饰深渊之恐怖的最佳事物,这也是一种深思熟虑的城市美学。

Melancholy is the core of modernity and urban poetics. It not only created modern Chinese intellectuals’ paradox of suffering and love, but also precipitated into invaluable fortune. As a projection of the paradox, the Neo-sensationalism shows the same and different trend of ’revolution’ and ’modern’, and its ’Inner’ and ’Present’ writing opens the perceptual revolutionary road beyond Salvation and Enlightenment. Compared with the modern writing of the Neo-sensualism, the contemporary writing of Shanghai further depicts the stagnant appearance of the end age of ’Modern Aesthetics’. Different from ’Euphoric Foxtrot’, this is the ’Melancholy Baroque’ of postmodern urban poetics, and the portrayal of intellectuals’ personified melancholy. From the Neo-sensationalism to Wang Hongtu, Baroque Poetics not only inherited Modernism’s ’Play of Words’ and ’Salad of Feeling’, but also reflects ’Metaphysical Despair’. Art becomes the best way to transcend laitmatophobia, and it also represents a kind of thoughtful urban aesthetics.