【作者】 张袁月；

【导师】 陈洪；

【作者基本信息】 南开大学 ， 中国古代文学， 2012， 博士

【摘要】 晚清小说的研究无法回避上海，但仅仅讨论上海亦无法清晰地认识晚清小说的转型过程。如果我们不孤立地看晚清上海，而是将其放入它所在的吴地中动态地分析，那么我们无法忽视晚明出现过的另一个小说中心——苏州，而在晚清，苏州的衰落与上海的崛起又几乎同步。因此，吴地先后出现的这两个小说中心不是一个简单的竞争、兴替的过程，而是在中国社会转型的大背景下一种特殊的递嬗、移位。以苏州与上海辐射整个吴地，既能历时性地揭示出吴地小说的文学发展脉络，又能共时性地反映吴地小说现代转型的不同程度，从而为地域社会文化研究与晚清小说史研究提供新的思路与视角。本文将以晚清小说史为背景，以苏州-上海这对“双城”的比较为切口，以地域文化的变迁为参照，以期对晚清吴地小说的嬗变轨迹及文化意蕴做出客观、全面的阐释与评价。本文除绪论和余论外，共分六章。第一章论述晚清吴地小说中心的移位。吴地曾先后出现两个小说中心——苏州与上海。在晚清小说史的研究中，上海受到较多的关注，而苏州则被小说研究者忽视。但实际上晚清上海小说中心的形成，并不仅仅是西方文化的造就，也是吴地小说中心移位的结果。正是苏州经济、文化、人才、出版等方面优势的丧失与资源的转移，上海才得以在晚清迅速崛起，成为新的小说中心。第二章分析晚清吴地小说叙事内容的变化。地域中心的移位不仅从外部改变了小说的创作传播环境，也从内部促使小说的叙事重心发生转移。总的趋势是从扬州、苏州转移到上海，又从上海县城转移到租界，甚至在租界也有着繁华区域的转移。这样，来自小说外部与内部的移位，使上海小说最终从吴地小说里脱离出来，形成新的文学传统——海派小说。第三章关注晚清吴地小说独特的叙事主题——“乡下人进城”。“乡下人进城”作为一个叙事要素在古代文学中并不少见，但多是局部性、片断性的，直到晚清吴地地域中心在上海确定下来以后，它才作为一个具有主题性质的叙事出现在小说中。在内涵上可概括为“海上繁华梦”，即在“海上”游历“繁华”，在“梦”中迷失的体验和经历；在主题上可概括为“迷失——回归”；形成这种叙事背后的文化驱动力则是晚清社会转型过程中乡村/城市的二元化格局。第四章比较晚清苏州与上海的文化差异及在小说中表现出的不同面貌。前面的小说中心移位主要从历时性的角度来论述吴地小说的流变，本章将从共时性的角度，讨论吴地两大中心由于自然、人文环境的具体差异所造成的分化趋势，最突出的就是形成了“画舫文化”和“马车文化”两种不同的城市文化。它们代表着两个城市在地域景观、生活方式等方面的差异，也造成了苏州小说与上海小说叙事内容和叙事风格的不同。可以说，它们既是文化传统，也是文学传统。第五章探究晚清苏州与上海在社会转型期的不同进程。苏州传统中有现代，它的现代来自对上海模式的复制；上海现代中有传统，它的传统来自对苏州文化的保留。这使二者有同构的趋向。但就转型程度而言，苏州的现代远远无法与上海相比，它虽然促使苏州人反思自己的文化传统，但深厚的传统性让他们对现代的接受过程趋于缓慢，很大程度上不过是现代景观的“展览”和现代生活方式的渗透。第六章以王韬与包天笑为案例，说明地域与时代交互作用下的小说嬗变。这也是对第一章的呼应以及对前面章节的印证。因为两人都来自传统积淀深厚的苏州，又都进入现代气息浓郁的上海；而在时代上，一个跨入晚清，一个跨出晚清，他们是晚清吴地地域变迁最好的见证者；两人都在晚清上海新兴报刊文化空间中发生了文学创作变革，如报载化、新闻化；同时，他们受到上海社会环境的影响，使小说创作体现出都市化、商品化、现代化等特征，而又带着苏州传统留给他们的烙印。总之，在相似的文化积淀与不同的时代风潮中，王韬与包天笑展现了晚清吴地小说现代转型的艰难历程。更多还原

【Abstract】 Shanghai is the issue that a Late-Qing novel researcher is unlikely to lose sightof, but playing attention to the single region does not approach a clear understandingof the transformation process of Late Qing novels. If Shanghai could be embedded inWu Area, and observed dynamically rather than isolated, then Suzhou, which wasalso a novel center in the Late Ming, must not be ignored. Moreover, the decline ofSuzhou and the rise of Shanghai are almost simultaneous. What this suggests is thatthe process from the old novel center of Wu area to the new one is far from a simplecompetition or substitute. Essentially, it’s more likely a special evolution and shiftunder the background of China’s social transformation. Suzhou and Shanghai, as thetypical two cities in the Wu area, can reveal the novel’s diachronic literarydevelopment, as well as reflect the synchronic modern transformation of Wu area’snovels in varying degrees, and thus may offer a new idea and perspective for thestudy of regional culture and Late Qing novels. This thesis takes the history of LateQing novels as the background, the comparison of the “Double cities”--Suzhou andShanghai--as the cutting point, and the transition of the regional culture tradition asthe reference, to provide a more comprehensive and objective interpretation andevaluation of these novels’ transformation process and cultural implication. The thesis is composed of six parts besides the prolegomenon and theconclusion.Chapter1discusses the shift of Late-Qing novel center in Wu area. There hadbeen two novel centers in Wu area, one is Suzhou, and the other is Shanghai.Shanghai in the Late Qing was tend to be paid more attention by researchers; whileSuzhou, unfortunately, was ignored. But in fact, for Late Qing Shanghai, to be thenovel center seems more like a corollary to the center shift of inner Wu area, than afoster of western culture. The decline of Suzhou in the Late Qing was deeplyinvolved in the loss of advantages in economy, culture, talent and publishing, as wellas the shifts of resources, which helped to create the new novel center-Shanghai.Chapter2analyzes the content change of novels of Wu area in the Late Qing.The shift of regional center not only changed the novels’ creation and spreadenvironment from the exterior, but also propelled the shift of their narration focusfrom the interior. The general tendency is shifting from Yangzhou and Suzhou toShanghai, and then from the old walled county seat of Shanghai to the InternationalSettlement. Even in the inner region of International Settlement, there was a regionalshift, too. As a result, Shanghai Novel separated from Wu area novels and formt anew literary tradition, that is, Shanghai style novel.Chapter3takes a focus on the unique narrative theme of the novels, which is called “the country folk going up to towns”. As a narrative factor, it was common inclassical literature, just being a part or an episode. It was not exist in the novel as anarrative theme until Shanghai became the regional center in Wu area. Its meaning, tobe simple, is “hai shang fan hua meng”, that is, to experience flourishing Shanghailike in a dream. The theme can be put into two words,“lost” and “return”. And theinner force is urban and rural dualistic structure under the background of China’ssocial transformation.Chapter4compares the cultural differences between Suzhou and Shanghai in theLate Qing, and the unique novel features of each. The chapters above mainlyelaborate the novel’s diachronic literary development, this chapter, from a synchronicangle, deals with the distinctive tendency, which is brought about by differences ofnatural and cultural environments between the two centers in Wu area. As a result ofthe tendency, this area appears two city cultures, one is “pleasure-boat culture”, andthe other is “carriage culture”. They stand for the two cities’ differences such asregional landscapes, life styles and so on. Moreover, they result in different narrativecontents and narrative styles of Suzhou Novel and Shanghai Novel. To some extent,they’re not only cultural traditions, but also literary traditions.Chapter5probes into the two cities’ different processes of moderntransformation. In one hand, there were modern factors in traditional Suzhou, which seemed like a copy of Shanghai pattern. On the other hand, there were traditionalfactors in modern Shanghai, which was a kind of preservation of Suzhou culture. Inthis sense, the two cities are isomorphic. However, looking more closely at thetransformation degree, Suzhou is far behind Shanghai in modernity, which promptedSuzhou people to reflect on their own cultural tradition, but the receptive process wasso slow, because of profound traditional culture, that the modernity was more likelyan exhibition of modern landscape and infiltration of modern life style.Chapter6takes Wang Tao and Bao Tianxiao for example, trying to establish thetransitional novels in the influence of both region and times. This chapter attempts toecho Chapter1and confirm the chapters above. Take region into account, both WangTao and Bao Tianxiao came from traditional Suzhou to modern Shanghai.Considering their times, one stepped into the Late Qing while the other stepped out;this made them the best witnesses of the changes in Wu area. Both of themexperienced the literature revolution happened in the new cultural space of Late-QingShanghai, and carried the signature of the new literary genres that mixed with noveland mass media as well as news report. Besides, their writings revealed a few featuresthat closely linked to Shanghai’s sphere, such as urbanization, commercialization andmodernization. At the same time, they also remained traditional gene as Suzhoupeople. In a word, thanks to the similar culture tradition and the different times, the two transitional figures could map out the tortuous process of the novels’ moderntransformation.更多还原