茅盾与左翼都市叙事中的欲望表达

Expression of Desires in the Left - Wing City Narratives Represented by Mao Dun

作为左翼都市叙事的范本,《子夜》的叙述焦点已不在个体的命运和精神历程,而是转向了有关中国社会的宏大叙事,它对都市生活中欲望的书写方式也相应地产生了一系列变异,非个人的集体成了都市叙述中的欲望主体。茅盾试图将以个人欲望为枢轴的都市叙事与揭示社会发展规律的历史叙事扭合在一起,达到一种综合。然而,在很多情形中,他的努力以失败告终。这两种不同类型的叙事无法重合,即便作者勉强将它们叠合成一体,不谐和的裂缝依旧随处可见。

As a model of the left - wing city narratives, The Midnight does not focus on individual fate and spiritual process but changes to a grand narrative about Chinese society. There are a series of corresponding changes in its narrative style about desires in city life, in which non - individual groups become the subject of the desires. Mao Dun tries to combine the city narrative, in which individual desires are essential, with the historical narrative, that reveals the law of social development so as to achieve a synthesis but often in vain. The two different narratives can' t be combined and if the author manages to combine them, it will be full of inharmonious gaps.