“向左转”的内面“秀”场——论丁玲20世纪30年代上海时期的风景书写与主体建构

The Portrayal of the Interior behind Ding Ling's"Turning Left"——On Ding Ling's landscape writing in 1930s Shanghai and the formation of her subjectivity

20世纪30年代上海时期(1930—1933)是丁玲“向左转”的创作阶段,缠绕着个人与时代的相互碰撞,游走在城市和乡村的两重空间,她的思想在这个时候表现得最为复杂。然而“风景”是丁玲擅长的书写策略,以作品中的风景为媒介,“在场”与“不在场”的外在装置解码了城市知识分子的自我纠结,地理场域的视点转移也烛照出乡村革命的蓬勃生机。总的来说,“向左转”的风景书写自然带有左翼风景描写的整体特征,但丁玲“向左转”之路是一条渐进的思想轨迹,田园牧歌的诗意书写承载了她的审美个性,深挚的乡恋情结与大胆的色彩构图也让她步出左翼的合流,架设了偏向内面的风景“秀”场。再访丁玲的“向左转”之路,观照独具魅力的风景书写是深入其主体建构的有效途径。

The period of the early 1930s(1930-1933)Shanghai was the creative stage of Ding Ling's"turning left".Intertwined with the collision between individuals and the times,and wandering in the two spaces of cities and the countryside,her thoughts were the most complex at that time.However,portraying the landscape is the writing strategy that Ding Ling is good at.With the landscape in her works as the medium,the external devices of"presence"and"absence"decoded the self-entanglement on the part of urban intellectuals,and the viewpoint transformation of the geographical field also reflected the vigorous vitality of the rural revolution.In general,her landscape writing had the overall characteristics of the left-wing landscape description.However,Ding Ling was a talented writer with an outstanding personality.Her deep romantic disposition and bold color composition also made her go beyond the collective category of the left-wing,creating a unique landscape by herself.