摩登詩形與戀愛論建構──徐遲上海時期的文藝實踐（1933-1937年）

Modern Poetic Form and Theory of Love: Xu Chi’s Literary Practice in Shanghai (1933-1937)

本文首先探討1930年代上海報刊場域中，詩人致力於新詩形的演練，進而溝通西方科學知識、新詞語、新事物與文藝實踐，孕生一種反映摩登都會現場的詩意生產模式。以譯介美國現代詩在報刊文化圈展露頭角的徐遲（1914-1996）深諳此道，在上海時期（1933-1937）發表的詩文卻因抗戰後的左傾立場而受到忽略。他的第一本詩集《二十歲人》充分表現新舊體驗的融合，也直接的運用西方流行思潮的詩歌技巧，建立出一套應合施蟄存所提出的現代派詩形，體現了上海都會世界豐富而複雜的視覺文化。接著，關注他的戀愛主題雜文，這些訴求清澈純粹、「初戀般」愛情的作品，上接五四之後、廚川白村以來的戀愛論，又與當時新感覺派引領流行的摩登戀愛觀不盡相同。這批作品主要見於郭建英、李青主編時期的《婦人畫報》，徐遲繞開了感官與形貌，深入男女戀愛的精神層次，又隨著時局轉變而導向一種批判社會性別角色的方向。本文從1930年代的上海文藝圈重探其文藝實踐活動，凸顯一位浸淫於混雜、多元都會風景中，並以「二十歲人」一語為自我詰辯的詩人，如何參與報刊與出版業蓬勃的龐大結構，也由此照見這一時期上海文藝圈尚待深掘的一角。

"Xi Chi was representative of translating Ameican modern poetry during 1930s in Shanghai. After Second Sino-Japanese War, he committed to reportage. However, his first work Twenty-Yeard Old Man published in 1936, was a remarkable case which illuminated the modernity of metro life in Shanghai. This study seeks to revisit the meanings in his poetry in 1933 to 1937. Part I indicates science material and concepts in Xu Chi’s poems, including transparency and Geology, revealing a modern form of the sources of poetry. Part II points out that most of his works in Fu Ren Hua Bao(婦人畫報) were impacted by visual culture; therefore, they represent modern poetic form. Part III analyzes how Xu Chi construct his theory of love by contributing several essays and conté(掌篇小說). These aspects are the crux of Chinese modernity in 1930s."