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名花美人与抒情传统源起于《离骚》的“香草美人”的审美政治,自17世纪以来经历了文学文化世俗化的过程。才子佳人小说、百美图等为市民大众所喜闻乐见,成为表现民族“情感结构”的艺术形式。研究20世纪20年代《社会之花》《红玫瑰》和《紫罗兰》这三种消闲杂志,发现它们不同程度地体现了中产阶级核心家庭、自我完善、新旧兼备的文化议程,与上海租界的特定历史条件相联系,几乎成为一个资本自由流通和交换的乐观时代的象征。在20年代末社会政治条件恶化的情形中,这一传统已处于内外交困的境地,从更深的层面来看,它是与市民社会的公共空间一起萎谢的。
The famous flower beauty and lyric tradition originated from the aesthetic politics of “Li Sao” “vanilla beauty ” and underwent the process of secularization of literature and culture since the 17th century. Talented people and beautiful novel, such as hundred US map for the public are loved by the public, a national “emotional structure ” art form. Studying the “Social Flower”, “Red Rose” and “Viola”, two leisure magazines in the 1920s and found that to varying degrees they embody the cultural agenda of middle-class nuclear families, self-improvement, both old and new, The historical conditions are linked and become almost a symbol of the optimistic era of free circulation and exchange of capital. At a time of deteriorating socio-political conditions in the late 1920s, this tradition was at a standstill both internally and externally, and on a deeper level it wilted with the public space of civil society.