東京/上海：從日本「新興文學」視域重探日、中新感覺派的多重現代性交涉(1920s-1930s)

Tokyo/Shanghai: Reinvestigating the Interaction of Modernities between Japanese and Chinese "Neo-Sensation" Schools from early 20th century East-Asiatic "Newly Rising Literature" Angle, 1920s-1930s

趙家琦(Chia-Chi Chao)

指導教授 ： 劉人鵬

國立清華大學/人文社會學院/中國文學系/博士(2015年)

https://doi.org/10.6843/NTHU.2015.00003

摘要

本文以中國現代文學史上的「上海／中國新感覺派」（以下稱「上海新感覺派」）為主要探討對象，試圖在「上海新感覺派」歷來被定位為西方審美現代主義之形式主義流派的觀點外，嘗試以20世紀初現代主義的多重性與日本新感覺派所牽引出的「新興文學」景觀為參考軸，旨在以歷史脈絡化的方式來重探、進而重構「上海新感覺派」文藝活動的複雜性。本文透過分析指出，「上海新感覺派」既非對日本新感覺派的複製，亦不僅限於西方審美現代主義或都會文學圈限下的移植流派，而實為一群青年作家依文藝興趣，透過自辦刊物為主要發展園地，在文藝表現與活動上互有呼應與連繫現象的文友圈，他們身處1920年代末到1930年代中期的上海文學／化場，與同時期其它文藝集團、主義思潮、以及當時時代文藝觀課題與社會環境有著密切交涉與互動。本文便依據此歷史脈絡化的重探視野，試圖闡述「上海新感覺派」文藝活動當中所觸碰到前衛藝術理論之美學先鋒性、都會市民文化通俗現代性、以及馬克思主義社會先鋒性思潮此三大面向，由此勘探討論「上海新感覺派」文藝活動的多元現代性表現。

「上海新感覺派」迄今作為現代中國文學史上的流派概念，主要來自1980年代以降中國大陸地區在重寫文學史風潮下將其建構為相對左翼現實主義傳統的西方「現代主義在中國」代表流派。然而，此典範化過程雖讓這群上海作家重獲重視，卻也讓「上海新感覺派」被視為有特定組織、宗旨而為與社會無涉、僅側重技巧、重都會感官娛樂題材、專注個人內在情感經驗而偏向封閉內省之審美性質的流派。在此觀點下，不僅「上海新感覺派」充滿複雜性的文藝實踐受到遮蔽，亦導致「上海新感覺派」所涉及與1920年代日本新感覺派的實質關聯，長期以來缺乏深入的追蹤探究。

本文即是據以上問題意識而對「上海新感覺派」文藝活動進行重新的檢視與探討。本文發掘，「上海新感覺派」與日本新感覺派所牽引出日本20世紀早期（精確而言，指日本「戰間期」階段，約為1918到1937年）的「新興文學」有著相當程度的交涉，並在此交涉中帶出兩方跨國文學圈之多重現代性的交叉與對應關係。「新興文學」一詞，囊括指涉著日本在20世紀初期世界思潮傳播下，隨著關東大地震後之重建現代化工程、科學主義、馬克思主義潮流以及都會中產市民空間等一系列社會轉型變革所推生出種種的新文藝思潮、文藝觀與文藝實踐——當中既包括西歐前衛藝術、左翼文學與大眾流行文藝等等，而日本新感覺派既屬「新興文學」之一支，亦與其他「新興文學」有著交織互動關係。而以日本新感覺派所觸及的多重現代性為參考座標，可發現「上海新感覺派」的文藝活動不僅在許多方面觸及日本「新興文學」相關議題，其身處的1920到30年代的上海文化場亦如震後東京，為當時中國金融、文化中心而接收世界各方思潮的遠東國際大都會，而「上海新感覺派」便是在上海此世界文化氛圍下而在各種現代性思潮與文藝氛圍下而成就其具多元現代性的「現代主義」實踐。

本文以東京／上海為觀照視域上的地理文化空間，首先釐清日本新感覺派的產生與20世紀早期東京在震後現代化語境與世界新興思潮的連繫互動，特別關注發掘日本新感覺派如何在回應日本新／舊社會之轉型與時代交接思潮下，產生其以科學主義為是尚又別具民族視點回應的文藝理論脈絡與思想痕跡，力圖將日本新感覺派納入大正—昭和時代的知識語境與思想環境來做統整的認知與理解。在釐清日本新感覺派文藝理念與日本20世紀初歷史節點和特定時代語境的緊密關係後，本文主部份將以此為參考軸，進一步探勘「上海新感覺派」所因應於中國語境所體現其觸及日、中現代思想與文藝交流的多重現代性文藝實踐。本文以美學先鋒、左翼摩登和通俗現代性此三大命題來探討「上海新感覺派」與日本新感覺派共享的多重現代性議題，發掘出相較於日本新感覺派文藝活動所貫穿的「主知」脈絡，「中國新感覺派」為凸顯其主要課題在於因應中國在地處境而集中於社會先鋒／藝術先鋒的辯證課題。因此，透過考察「上海新感覺派」形式先鋒創新中所納入左翼理論資源，或是其都會書寫所存在中國在地城鄉視野的社會眼光，抑或其通俗寫作所關乎上海都會作為新型社會結構透過語言再現的課題，這些皆證明了「上海新感覺派」在西方審美主框架外所深刻回應於中國政治處境、本身歷史文化脈絡與時代課題的在地「現代主義」特點。

總體上，本文從歷史脈絡化、文化場域與文藝生產的角度，還原出日、中新感覺派在1920到1930年代東京／上海文學／化生態場域與域內／域外之多方思潮拉捨與互動的動態景觀，此研究方式擺脫了以往從靜態對比的抽樣文本分析來分析日、中新感覺派的異同，而從一個更符合歷史動態景觀的東亞視域來釐清日、中新感覺派的實質交涉；而此以東亞角度為出發的觀察切入點，亦將有助於我們理解日、中新感覺派如何體現他們在東亞政治、歷史與文化脈絡下而對「現代主義」在回應與轉化實踐中所體現的在地性特質。通過日、中新感覺派之現代性交涉的歷史化考察，他們不再受限於西方審美主義之話語框架，而將被挖掘出所具備幅輳出20世紀早期日本（東京）／中國（上海）就東亞現代性議題的位置和重要意義。

關鍵字

新感覺派 ； 上海 ； 日本 ； 新興文學 ； 現代性 ； 東亞

並列摘要

This paper mainly focuses on the so-called “Shanghai/Chinese Neo Sensation School” which has been supposed and established in Modern Chinese literature history as a typical genre of aestheticism and formalism inclined literary group deeply influenced by late-19th century western artistic trend. However, instead of regarding “Shanghai Neo Sensation School” as solely western-influenced aesthetic literature, this paper explores the multi modernities which “Shanghai Neo Sensation School” had by their relationship with Japanese Neo Sensation School and from early-20th east-Asiatic “Newly Rising Literature” angle. In other words, the target of this paper is to discover the complexity of “Shanghai Neo Sensation School” by means of a historical research way, trying to re-examine the literary complicacy of “Shanghai Neo Sensation School” in 1920s-1930s east-Asiatic culture, politics and historic context.

The concept “Shanghai Neo Sensation School” had been firmed as an aesthetic- modernism group opposed to proletarian realism literature since mainland China 1980’s scholarships’ “rewriting modern Chinese literary history” trend. Although the canonization has made “Shanghai Neo Sensation School” got scholarly attention, it let “Shanghai Neo Sensation School” be considered as a pure aesthetic and nonsocial school which only laid special emphasis on writing skill, internal experience and urban life of sensual pleasure. Under the point of view, not only the complex content of “Shanghai Neo Sensation School” has been ignored, but the relation between Shanghai and Japanese Neo Sensation Schools has been lacked subtle and comprehensive survey.
Accordingly, the motive of this paper is to explore a little further into the literary practices of “Shanghai Neo Sensation School” historically, trying to sophisticate their significance from modern east-Asiatic social and cultural circumstances.

In fact, “Shanghai Neo Sensation School” was an informal group of young writers gathered by similar literary interests; their literary works respond to each other and presented as relating to early 20th century Japanese “Newly Rising Literature”. “Newly Rising Literature” referred to a series of newly literary practices which arose after 1923 Kantō earthquake Japan – with the rapid development of post-earthquake rebuilding, modernization, globalization and pursuit of scientism, “Newly Rising Literature” widely included western Europe avant-garde, Russian Communist art, Marxism theories, proletarian literature, urban mass culture and so forth which were seen as corresponding to worldly tendency to various “modernities” at that time. To some extent, Japanese Neo Sensation School can be regarded as a sort of “Newly Rising Literature”, it also had frequent interaction with other species of “Newly Rising Literature”. Just like Japanese Neo Sensation School came into being at post-earthquake transformed Tokyo society, “Shanghai Neo Sensation School” likewise had close connection with 1920s-1930s “modern Shanghai” environment, and its literary practices touched the multi modernities of early 20th century Japanese “Newly Rising Literature” phenomena and issues as well.

It is from the above assumption that make this paper set Tokyo／Shanghai as two compared cultural geographic space for analytic framework. Firstly, the primary section of this paper deals with the relation of Japanese Neo Sensation School’s birth and 1920’s Japan post-earthquake culture transformed surrounding. Therefore, in this section, I center on elaborating Japanese Neo Sensation School’s theories about literature, trying to illustrate their literary purpose of scientism by relating to Japan’s Taishō to Shōwa “intellectualism” current of thought, knowledge and the whole society background. After that, the main part of this paper takes aesthetic avant-garde, left practice on proletarian literature and urban mass culture writing as three cross-cultural representative characters of “Shanghai Neo Sensation School”s practice on multi modernities with Japanese New Sensation School. Compared to Japanese New Sensation School’s core lays on scientism responding to Japan’s early 20th century intellectualism atmosphere, this paper finds out that “Shanghai Neo Sensation School” presented themselves the dialectical issue between artistic／social avant-garde was their substantial concern. For instance, no matter applying Marxism art theories to their experimental urban writing, putting the problem of urban／rural conflict to their urban topic fictions, or presenting narrative innovation in civic creative pieces, “Shanghai Neo Sensation School” showed their writing were neither copy of Japanese New Sensation School nor formalism practices transplant from western aestheticism, but in fact an involution of various modernities according to Chinese language, narrative tradition, political condition and cultural situation.

Overall, this paper tries to clarify the exact relationship between Shanghai／Japanese Neo Sensation Schools by putting them in 1920s-1930s China-Japan historic context and Tokyo／Shanghai comparative cultural fields and metropolitan space. By this methodology, Shanghai／Japanese Neo Sensation Schools will no longer be seen restrictedly as western-imitating aesthetic genre; on the contrary, their “modernism” practices will be elucidated concerned with east-Asiatic cultural surrounding and China／Japan modern history and thus demonstrate their literary “modernism” as full of Asiatic local characteristic which is worthy of being re-evaluated in Chinese modern history.

並列關鍵字

Neo Sensation School ； Shanghai ； Japan ； Newly Rising Literature ； modernity ； east-Asia

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