博士 / 國立清華大學 / 中國文學系 / 103 / 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.
| Identifer | oai:union.ndltd.org:TW/103NTHU5045049 |
| Date | January 2015 |
| Creators | Chao, Chia-Chi, 趙家琦 |
| Contributors | Liu, Jen Peng, 劉人鵬 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 315 |
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