現代小說的返「鄉」之路──從1930年前後的上海再出發

Modern Fiction's Road of Home-Coming: Retaking the Road by Shanghai around 1930

二○年代中期以後，小說從「文學革命」轉向「革命文學」，是現代文學史上一個不容忽視的課題。故本文嘗試研究「後五四」世代的三位代表作家：茅盾、蔣光慈和丁玲，跟隨他們離開南方故鄉，展開一趟遠征大上海的漂泊行旅，而舉凡都市經驗的挫敗感、邊緣零餘者的困頓，以及都市／故鄉之間的矛盾對比，皆成為他們二０至三○年代小說中重要的主題，甚至是一個青春又善感的青年在面對現代性時焦慮的根源。故他們輾轉流亡在上海都市的邊緣，從此走出魯迅和五四的影響，而打造出一條通往三○年代革命文學的道路，並且也縫合起五四以來「個人」與「集體」之間的分裂。故這是一條返「鄉」之路，然而此「鄉」已非真實的故鄉，而是作家所打造出來的國族想像之「鄉」。

One issue that can hardly be overlooked in modern Chinese literary history is the turn taken by the fiction writing from ＂literature revolution＂ to ＂revolution literature＂ after the mid-1920s. This paper will have as its research foci three iconic writers of the post May Fourth generation--Mao Dun, Ding Ling, and Jiang Guang Ci--following their departure from the homeland in the south and their arduous tour to Shanghai. Their works in the 20s and 30s heavily thematize on the frustration of urban experiences, the weariness of marginalization, and the antinomy of city and country, all of which sets an illustrative example of the anxiety a sentimental youth would have in face of modernity. Wandering in the margin of Shanghai's urban-scape, these writers retook a new road leaving behind the towering shadow of Lu Xun and the May Fourth, and leading to the revolutionary literature in the 30s. The road thus retaken also manifests one strong literary effort to bridge the gap that has been left open since the May Fourth between the individual and the collective. A road of home-coming this truly is. Yet the ＂home＂ in concern is not so much of the real home-land, as of an imaginary home-construct these writers have worked out on a national scale.