情感结构与时代症候:重审1920年代丁玲北京时期的情爱书写

Emotional Structure and Epoch Symptoms:a Review of Ding Ling sLove Writing in Beijing Period

对于像丁玲这样受新文化思潮感召来到北京的知识青年来说,其情感结构已然不同于“五四”初期激烈张扬的政治青年,飘零无依的孤独、理想抱负的落空、生存糊口的艰难、前途未可知的迷茫,集合成了丁玲这一代人的共同体验。丁玲早期在北京的创作既可以说是对时代情感结构的一种继承,也可以说是一种反拨,通过情爱书写,丁玲对其时流行的“感伤主义”与现代女性成长之间的关系作出了自己的判断:徒有感伤情绪在现代社会是解决不了任何问题的;而作为女性恋爱的客体,男性群体也并不能满足新女性恋爱的要求,“男性气概”的失落,在某种程度上其实正要求女性变得更强大;在以经济地位决定男性气概的社会,对于经济上尚未完全独立的女性来说,无论是“浪漫爱”还是“灵肉一致”的爱情,其实都不过是水中花、镜中月。

For young intellectuals like Ding Ling who came to Beijing under the influence of new cultural trends,their emotional structure is already different from that of the fiery political youth in the early stage of the May 4th movement.The common experience of Ding Ling s generation is composed of the loneliness of drifting around,the failure of ideals and aspirations,the difficulty of survival and life and the confusion of unknown future.Ding Ling s early creation in Beijing can be said to be both an inheritance of the emotional structure of the times and a kind of reverse.Through love writing,Ding Ling made her own judgment on the relationship between the popular“sentimentalism”at that time and the growth of modern women:sentimental feelings can not solve any problems in modern society;as the object of female love,male group can not meet the new female s requirements for love affair;the loss of“masculinity”actually requires women to become stronger to some extent;in the society that economic status determines masculinity,for women who are not yet completely independent economically,both“romantic love”and“consistant love in soul and flesh”are nothing more than the moon in the water,flowers reflected inthe mirror.