時尚無罪：《紫羅蘭》半月刊的編輯美學、政治意識與文化想像

Fashion is No Crime: The Aesthetics of Editorship, Political Awareness and Cultural Imaginary of the Semi-Monthly Ziluolan

鴛鴦蝴蝶派文人周瘦鵑所主編的《紫羅蘭》半月刊（1925-1930），反映了當時都會中產階級的文學品味，在市場銷售方面也有亮眼的成績。周瘦鵑藉著這份通俗文學雜誌發抒私己情感，強化「紫羅蘭神話」的建構，並號召文友共襄盛舉，帶動了風靡一時的「紫羅蘭」潮流。本文以「紫羅蘭」意象為出發點，配合《紫羅蘭》刊中圖文，分析周瘦鵑的編輯美學及其融合中西新舊的文化想像，並闡發其時尚書寫之中含蘊的政治意識。面對當時日益嚴峻的政治氣候與意識形態鬥爭，周瘦鵑極力淡化政治色彩、容納各派作品並迴避衝突，兼顧公開化和商業化的目的，使《紫羅蘭》成為一個相對自由的大眾文學場域，也是1920年代晚期上海的傳奇性文化商品。

The semi-monthly Ziluolan (Violet, 1925-1930), edited by the famous Mandarin Duck and Butterfly writer Zhou Shoujuan (1895-1968), was an exceptionally successful magazine in the Republican period. It reflected the urban middle class readers' taste and accordingly attained high popularity on the literary market. Zhou intensified his personal “myth of Violet” in this magazine and invited his fellow writers to join in, which eventually invoked a “fashion of violet” in late 1920s to 1930s Shanghai. By examining both images and articles in Ziluolan, this paper analyzes the aesthetics of Zhou's editorship which centered on the manipulation of the image of violet, his cultural imaginary which combined the old and the new, Chinese and Western, and his indirect political agenda contained in the fashion writings in this magazine. Facing the hazardous political situation and the fierce conflicts between various ideologies, Zhou's strategy was to blur the political tendency of his magazine, to accommodate works from diverse literary groups, and to avoid conflicts. As a result, Ziluolan became a relatively open literary field that acquired public and commercial characteristics, which helped to make it a legendary cultural product in late 1920s Shanghai.