走，走到樓上去——張愛玲作品中的後五四懷疑精神

Skeptical Attitude in Post-may Fourth Movement China:the Case of Ai-Ling Zhang

五四文化運動的熱潮帶來了中國的世界觀的改變、但在激情之後，有些身處其中的文人，開始用懐疑的眼神回視過去的努力是否正確、值得，如吶喊的最大聲的魯迅（1881-1936）也不禁開始徬徨；而此種懷疑的眼光走到五四的後期，尤其在面臨政治的動盪、對中國未來的不安下，懷疑的心情更是在文人筆下不自禁的流露而出，本文擬以在五四後出生的張愛玲與她的作品為分析文本，以解析張愛玲（1920-1995）作品中的後五四懷疑精神。張愛玲出生時，中國已走入一個新的時代，她從來未來得及參與就身陷其中，當她開始在文壇發聲時，是1945年中國的多事之秋，她身處最多元而混雜的上海租界，一切的客觀環境，與她自身的沒落貴族的出身，都構成了她作品中斜睨雙眼的角度，既是對人性永恆的探索書寫，又是對人性無盡的絕望陳述，從她的作品中我們可尋找到後五四的懷疑精神是如何反映出當時的中國與文壇。

The May Fourth Movement brought about the change of world view in China in early 20th century. After participation with excitement, intellectuals such as 魯迅 Lu Xun (1881-1936) began to look back with skepticism. This skepticism got deeper as China's socio-political situation worsened. Many writers in the following years thus shared a Post-May fourth intellectual and emotional syndrome: A profound sense of uncertainty and confusion regarding national and personal future. 張愛玲 Ai-ling Zhang is a case in point. Zhang was born in an aristocratic family, a social class quickly losing its status and prestige at her time. When she became active in writing around 1945, China faced war and suffered total social breakdown. Zhang's living in the foreign concession area in Shanghai only further enhanced her awareness of the complexity and turmoil of her times. This article is intended to study Zhang's work to reveal her seemingly side-glance vision, how in her unique way of capturing human nature she recorded her times. Like many other contemporary writings, Zhang's work is dyed with the kind of skepticism typical of that period of China.