眼泪的启蒙——《断鸿零雁记》和近代中国的情感劳动

Memory of A Drifting Life and Emotional Works in Modern China

通过延续《红楼梦》里“僧”和“泪”的扮相,《断鸿零雁记》开辟了一个阴性的文化空间。在此空间中,弱化、感伤的男性表面上对女性充满尊敬和爱意,但这种情感的付出实际要求女性做出“对等”的反应。她们或死节或开明的形象,正是这种反应的表征,投射的是传统的男性同性社交欲望。这种欲望充满自恋色彩,试图在时代的变动中通过对家庭关系的展演,来促发男性知识分子回返传统道德秩序的意愿。破碎的家庭、飘零的个体,以及寻而不得的“幽灵式”的(女性)美德,有助于在公众中引发一种同情感。但是,向大众开放自我,引发同情,绝不仅是个人的展示,而是表演一种能够为大众所接受或需要的人格形象。在这个意义上,满布小说的“哭泣”是一种情感劳动。它是组织现代社会生活的一种非常重要手段。

Memory of A Drifting Life(断鸿零雁记)inherited the images of“monks”and“tears”described in A Dream in Red Mansions(红楼梦)and opened a cultural space for females.In this space,weak and sentimental males ap-peared respectful and infatuated with females,however,such male emotions actually begged for equal responses from fe-males.The female images of chastity and tolerance embodied these responses and reflected the traditional males'desires for social interactions of the same gender.Such narcissistic desires attempted to inspire the willingness of male intellectu-als to turn back to the traditional moral order by revealing the family relationship in changes of times.Broken families,drifting individuals and unseekable“ghostly”(female)virtues helped induce a sympathy within the public.Nonetheless,exposing themselves to the public and motivating sympathy were not just to reveal themselves but also to display images of personality which could be accepted and demanded by the public.In this sense,“tears”frequently described in the novel were a type of emotional work and became a significant technique to organize modern social lives.