受租界殖民化洋场风气的浸渍,19世纪的上海在斑驳陆离的精神气候里酝酿了一场殖民性与民族性相互摩擦的波动。在施蛰存现代与传统交织的复杂创作历程中,似乎总是缺乏一种民族主义的想象。这与刘呐鸥、穆时英一方面追忆都市西方,一方面对殖民现实进行遮蔽的态度异曲同工,但自有其表现的肌理,他更多是在资本主义层面,而非半殖民层面上看待都市物质性,这是施蛰存的一种独特的叙事策略。 Impressed by the oceanic atmosphere of colonialism in the concession, Shanghai in the nineteenth century brewed a wave of colonial and ethnic friction in a vicious climate. There seems to be a constant lack of a nationalist imagination in the complicated process of creating and intermingling modernity with tradition. This, together with Liu Na Ou and Mu Shiying, on the one hand remembered the metropolitan West, on the other hand concealed the colonial reality in the same way. However, since the texture of its own performance, he is more at the capitalist rather than the semi-colonial level Urban materiality, this is Shi Zhecun a unique narrative strategy.