特工题材的写作图式:茅盾《腐蚀》与陈铨《野玫瑰》比较研究

Writing Schema of Secret Agent Theme:A Comparative Study of Mao Dun'S Corrosion and Chen Quan's Wild Rose

茅盾的小说《腐蚀》和陈铨的剧本《野玫瑰》都写于1941年,主人公都是女特务,同属抗战特工题材作品,但两部作品的主题意蕴、情节模式、叙事策略和人物形象却大相径庭,形成写作图式的迥异与对照。茅盾和陈铨在创作理念、历史认知、政治情感等方面建构了特工题材固有的写作的知识结构与思维模式,从而为现代文学史提供了两个有意味的文本。从写作图式出发,重新解读文学史上的公案“《野玫瑰》风波”就会有新的发现,两位作家形成了悬殊的写作图式,导致左翼作家茅盾和形似“右翼”作家陈铨无法在特工叙事方面达成共识。另外,国民党特工作为一个历史的存在物,如何在文学作品中演绎及其呈现,这既涉及历史的认知,也涉及写作的考量。

Both Mao Dun's novel Corrosion and Chen Quan 's screenplay Wild Rose were written in 1941,and the protagonists are female agents,both of which belong to the same works on the subject of Anti-Japanese War agents.However,the thematic implication,plot mode,narrative strategy and character image of the two works are quite different,which forms the difference and contrast of the writing schema.Mao Dun and Chen Quan constructed the inherent knowledge structure and thinking mode of the secret service subject in the aspects of creative idea,historical cognition and political emotion,thus providing two meaningful texts for the history of modern literature.Starting from the writing schema,a new discovery can be made by reinterpreting the public case of“The Wild Rose Storm”in literary history.The two writers formed a different writing schema,which led to the failure of left-wing writers and right-wing writers to reach a consensus on the narrative of secret agents.In addition,as a historical being,how to interpret and present the Kuomintang agents in literary works involves both historical cognition and writing considerations.