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穆时英素有“新感觉派圣手”之称,对其研究历来存在两大焦点:一是新奇的小说形式,二是谜一般的政治身份。对于前者,研究者试图揭示形式的文化构造,90年代后,诸多文化研究方法的采用对之形成了有力推进;对于后者,争议集中于“汉奸”身份。虽然有研究者试图沟通二者,但“文本置换”和后殖民主义路向尚未有效揭示出穆时英政治身份的复杂性。笔者认为,上述二者都与1930年代大城市人的观看机制有着隐秘关联。本文尝试从视觉文化思路考察穆时英的小说形式与政治身份的复杂纠缠。
Mu Shiying is known as “new sensationalist ”, its research has always had two major focuses: one is the novel novel form, the second is the enigmatic political identity. For the former, the researchers tried to reveal the formal cultural structure. After the 1990s, the adoption of many cultural research methods formed a powerful impetus. For the latter, the controversy focused on the identity of “traitors”. Although some researchers try to communicate the two, the “text replacement” and post-colonialist approaches have not yet effectively revealed the complexity of Mu Shiying’s political identity. The author believes that the above two have a hidden relationship with the watching mechanism of the metropolitan people in the 1930s. This article tries to examine the complex entanglement of Mu Shiying’s fictional form and political identity from the perspective of visual culture.