标题: | 摩登生活的漫画及其“无-意义”:郭建英与上海新感觉派 (1927-1935) The Painter of Non-sensical Life: Guo Jianying and Shanghai Neo-Sensualism (1927-1935) |
作者: | 徐明瀚 Hsu, Ming-Han 刘纪蕙 Liu, Joyce C.H. 社会与文化研究所 |
关键字: | 漫画;郭建英;视觉文化;文化翻译;新感觉派;无意义文学;美学现代性;Caricature;Guo Jianying;Visual culture;Cultural translation;Neo-Sensualism;Nonsense literature;Aesthetic modernity |
公开日期: | 2009 |
摘要: | 在波特莱尔〈现代生活的画家〉一文开展出的美学现代性问题序列中,上海新感觉派是过去研究者经常思索中国现代性的主要对象之一,但在以漫游者或浪荡子进行分析之后,傅柯所言之反讽的现代性态度却少有论及,另类态度的出现亦所难见。2001年以后上海新感觉派的边缘人物郭建英的漫画重新出土,而笔者近年来往返上海寻找郭建英作品史料的过程中,发掘出他更多的漫画创作与小说编写作品,其中笔者认为郭建英所提出的Nonsense,可以作为理解中文语境下现代性之特殊版本的论述核心,使得以同样问题意识接续上海新感觉派的研究得以进一步开展。 要重新理解郭建英与上海新感觉派之关系的原因也在于此,因为郭建英不单只是运用画笔、并对上海新感觉派作品进行插图式补充的画家,他是翻译日本新感觉派健将横光利一的主要中译者。而郭建英也不算是全然的新感觉派作者,笔者发现,在1930年后,他的漫画与《妇人画报》编辑皆显示出他对日本Nonsense文学编、译、绘、写的用心,有意在新感觉派的基础上开辟出更细致的文学路径。故,本论文的论述架构是先去理解郭建英的作品在哪些意义上与上海新感觉派旨趣相通,而共同面临了甚么样的内部限制与外部批评。继之,则探讨郭建英后续翻译日本Nonsense文学者作品并在上海境内开辟出诸多Nonsense掌篇小说的特色为何?以此我们才可以更为清楚理解并且厘清他与当时的新感觉派以及左翼内容论者的内在差距。最后,再整体地梳理郭建英这在上海横跨9年、漫画作品逾500幅的创作历程中内在的关键转折与Nonsense漫画本身的崭新层次。 笔者将在本论文中指出,郭建英的作品援用了刘呐鸥的Erotic,指涉出的置身于“物之罗列”中肉感书写之可能,但因其“无-意义”而不被囿限于主观感觉的相对位置之中;并且,此一“无-意义”在施蛰存Grotesque所提供的视觉转型空间中,亦不会落入攻击性嘲笑的滑稽(Comic),而能保持着Grotesque的怪异感受。“无-意义”本身的特性,是“没有内容”之Nonsense文学相较于“内容论”的实质诉求,更产生出能抹销原内容意义指定之形式优先特质。而这种形式,到了郭建英的漫画这里,我们将很难单纯地将女子无知、爱美或颓废等气质之“反讽”,或负面意义上的“没有内容”归并于郭建英对Nonsense的使用之中,反而,郭建英所指的更接近一种新的情感样态,确切的来说,即是从摩登生活的琐碎事端和情感相互性之中所体现出来的幽默。 郭建英以他自创的“摩登”=“无-意义”=“幽默”系列等式,提出了一种另类现代性。即,“无-意义”既非漫游者式的“肉感”或浪荡子的“禁欲”,亦非单只是现代诗人对生活的自嘲与反讽,而是摩登生活的画家利用幽默的被能动性(passive activity),反向地对社会进行批判。 In the past decades, researchers have often identified similar problematics of aesthetic modernity which Baudelaire had indicated in his article “The Painter of Life” to analyze the flâneur and dandy aspects of Shanghai Neo-sensualism. Yet, the ironic attitude of modernity which Foucault emphasized has not been reflected in these studies. After my general analysis of the works of Guo Jianying who participated in the translating, editing and painting in the context of Neo-sensualism, I think there is plenty of new material about Nonsense that will allow us to have a broader discussion on the ironic and other/alternative aspects of interpreting modern Shanghai. The main reason I choose to differentiate between Guo and Shanghai Neo-sensualism is that Guo is not simply the illustrator of the latter, but the keen translator of Yokomitsu Riichi and the major essayists of modern life which Neo-sensualism also depicts. After 1930, Guo even created a new route from within, not only translating novels of Japan Nonsense literature, but also editing new authors in the Chinese register. In the thesis, firstly I analyze the shared project of both Guo and the Neo-sensualists, and the shared strategy which they used to confront the critics’ negative valuations. Secondly, by presenting the main characteristics of the Nonsense novel genre from overseas to China, it will be clear how Guo’s works keep a distance among Neo-sensualist and Leftist writings. Lastly, based on former analysis, I choose the representative painting of Guo’s visual works, from western sense of beauty to the Shanghainese modern version, and sort them through the levels of the erotic, the grotesque and the nonsensical. The main argument of my thesis is that Guo’s work shared the flâneuric erotic interest of Liu Na’Ou, to settle a modern subject in materialistic writing, but Guo’s Nonsense creation introduced an ironic aspect in this common project . Also, this Nonsense is not a sarcastic effect of the comical , but a grotesque event. Hence, Nonsense indicates the ‘No-content’ responding to the leftist theory about life as true content prioritized in art and literature. Nonsense provides a means to formally think about what is no-sense(meaning/direction), this no-sense is not the negative attribution of the modern girl, but a new kind of affective relation of modern life of triviality and contingency. In Guo’s own series of identification: Modern=Nonsense=Humor, behind this thinking, what the painter of the modern life provides is the idea of aesthetic modernity as the critical practice. It is not the erotic of the flâneur or the monastic and ironic of the dandy, but rather the nonsensical: a passive activity of humor. |
URI: | http://140.113.39.130/cdrfb3/record/nctu/#GT079349508 http://hdl.handle.net/11536/40648 |
显示于类别: | Thesis |
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