魯迅和張愛玲文學的現代性與虛無感

The Modernity and Nihility in Lu Hsun and Eileen Chang's Literatures

發軔於西方的現代性（modernity），已隨著全球化的傳佈而成為世界現象，並對中國新文學發生了影響，從文學作品中可以觀察到現代性經驗的各種面向。處於新舊文化糾葛碰撞的時代，中國的現代性常表現為一種從舊文化秩序的崩解中去尋找出路，摸索建立起新文化圖像的嘗試，新舊文化的斷裂也往往造成價值的喪失而產生虛無感，與西方的現代主義文學有著相似的面貌。 魯迅和張愛玲是中國新文學的重要作家，也是反映現代性經驗的兩個範例。兩人作品中都觸及了新舊文化碰撞的問題，常表現出悲觀絕望的虛無感，從中可以看到二○年代至四○年代的中國，從村鎮農民到都市市民階級，在面對現代性時所展現的基本姿態。本文試圖分析兩人作品中的現代性經驗及相應而生的虛無感，具有何種不同的起因與呈現方式，以及各自所代表的意義為何，進而對中國新文學所反映的現代性面向有較為深入的把握與認識。

Modernity, originated in the West, has become a worldwide trend, and influenced the modern literature in China. The various aspects of modernity could be observed from literatures. The expression of modernity in China is often a fumbled attempt to establish the images of the new culture in the collapse of old cultural order. The gap between the new and old cultures often result in the loss of values, thus, nihility, which is similar to the Modern Literature in the West. Lu Hsun and Eileen Chang are important writers in the New Literature in China, and two paradigms of modernity. Their literatures touched the collision of the new and old cultures, and expressed pessimistic nihility, which showed the attitudes of farmers to townspeople toward modernity in China in 1920s to 1940s. This paper intended to analyze the modernity and corresponding nihility in Lu and Chang's literatures, the origins and expressions, and the connotations, thus, further understand the modernity reflected in the New Literature in China.