【作者】 刘秀芳；

【导师】 张清华；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2004， 硕士

【摘要】 无论是作为一座发达的现代都市还是作为一段繁华的历史旧迹，上海本身已经是一个不容回避的存在。众所周知，上海在中国现代化进程中取得了长期的强势地位，这除了它所创造的经济奇迹和它所处的重要地理位置之外，还有一个不容忽视的原因，就是话语叙述对上海的强力推广和开发，给上海以外的人留下了不可磨灭的印象。上海作为“东方的巴黎”，对于梦想通向现代化都市生活的中国人来说，有着特殊的文化意义。而在20世纪女性文学成功的“上海书写”中，有三位作为阶段性代表的人物：张爱玲、王安忆、卫慧。这三位女性的小说，创作背景多为上海，笔下的人物也多是上海人，发生的故事也多是上海的故事。某种意义上也可以说，这三位女性的小说，成功地构成了一部20世纪的上海演变史。如果我们把张爱玲、王安忆、卫慧的《金锁记》、《倾城之恋》、《长恨歌》、《上海宝贝》等小说放在一起，我们就会看到很长的一段上海的历史变迁。尽管这些小说都有大时代的动荡做背景，可关注的却是日常生活的本质，也可以说她们表现的是上海芸芸众生的生存史、心灵史。这一系列的“上海书写”虽然伴随着时代的发展而相应地产生了某种变化，但其内在的精神联系和逻辑发展是显而易见的，在历史传承上已然划出了一个自成传统的轨迹。然而由于她们生存的时代背景以及个性的不同，决定了她们创作中所表现出的“上海书写”并不完全相同，本文试图对此进行初步探讨。 论文共分三个部分。第一部分：三个女性与三个时代的“上海书写”。上海是现代化进程中中国的窗口乃至缩影，它的变迁和命运可谓和20世纪中国文学息息相关。在20世纪中国文学的“上海书写”中，张爱玲着重表现了20世纪30到40年代的资本主义／殖民地的上海，五安忆主要表现了一个世纪以及一个时代的转型中的上海，卫慧主要表现了20世纪90年代消费／全球化语境中的上海。这三位女性笔下的上海，更接近“历史的芯子”，更接近民间的、阴性的、小市民的和消费的上海，而远离暴风雨的革命和意识形态的上海。这样就形成了“上海书写”的一个谱系—女性的阴性的细节的心理的上海的谱系。 第二部分:“上海书写”内涵的三个维度。从时间(历史)里的上海、民间日常生活的上海、变与不变中的上海来阐释。20一肚纪上海的历史变迁在张爱玲、王安忆、卫慧笔下呈现出不同的形式。张爱玲是真正能捕捉30年代上海生活情趣的人，王安忆对上海的理解有了真正的“沧桑感”，卫慧则创造了我们文学中前所未有的“新新人类”形象。张爱玲、王安忆、卫慧均以时间l刁上海、时间与女性的纠葛，准确的又是完全个人化地描摹出了上海这座城市的肖像、这座城市恒常的世俗情态。在社会形态发生翻天覆地的变化的同时，日常生活的方式仍然可以按照自己固有的运转模式前行，一代传一代。 第二部分:“上海书写”的美学。张爱玲、王安忆、卫慧在写上海和上海女人这两点上，有着共同的契合点。这一部分便以她们为例来阐述女性书写与“上海书写”的交汇点:“阴性”的上海与阴柔之美，感性的[-.海与细腻丰腔之美，欲望的上海与摩登之美。张爱玲的上海弥满了女人日薄西山的凄楚和遗憾:王安忆细写女性与城市的纠缠关系，上海是性感的、带有私情的风情万种的女性形象:卫慧则写出了20世纪90年代都市上海情欲背景下女性生存的困窘和压抑。 纵观全文，本文以张爱玲、王安忆、卫慧为例来阐释20世纪女性文学中的“上海书写”，卞要对“上海书写”的内涵、“上海比写”内涵的三个维度、“上海书写”的美学进行了探索，为研究20世纪女性文学、研究“_上海书写”提供了一个崭新的角度和方法，进一步确立了张爱玲、仁安忆、IJ-慧在20世纪女性文学中的价值。更多还原

【Abstract】 Either as one developed modern city or as a prosperous old mark of history , Shanghai itself has been a existence that cannot be avoided. As we all know, Shanghai has made the long-term surging position in China’s modernization drive. This is not only because of the economic miracle it has made and its important geographical position, but also because of the reason that cannot be ignored that the popularization and the development lor Shanghai made by the words-narrating has given an indelible impression to the people outside Shanghai. Shanghai, which is called as "Paris in the East", has the special cultural meaning to the Chinese who are dreaming of leading to modernized city life. In the successful "Shanghai-writing" of women literature in the 20th century , there are three females who are the most important representative figures : Zhang Ailing ,Wang Anyi, Wei Hui. In the novels written by these three women, the backgrounds of creation are mostly Shanghai, the personages in these works are mostly from Shanghai, and the stories happening are almost stories of Shanghai too. In a certain meaning, the novels written by these three females has successfully developed into the history about Shanghai development in the 20th century. If we can put "The biography of golden lock", "The love of the whole city", "The song of the everlasting sorrow" and "Shanghai baby" together, we will see a very long section of historical changes of Shanghai. Ahotugh these novels all take the great turbulence of era as the background, the things that they pay close attention to are the essence of the daily life. And we can say that what they have displayed are existence history , soul history of all living things inShanghai. Although This series of "Shanghai-writing" has made some changes with the changes of times, their inherent spiritual connection and logic developing which are obvious, and it has marked the orbit of its own tradition It is determined that their Shanghai demonstrated writings is not self-same because of theirs difference of their era surviving background and Individual character , and this essay attempts to carry on preliminary discussion about this.This essay is divided into three parts: First is about "Shanghai-writing"of three females and three eras. Shanghai is the window and even epitome of China in modernization drive, and its changes and destiny are called to be closely relevant with Chinese literature of the 20th century. In the "Shanghai-writing" about Chinese literature wrote in the 20th century, Zhang Ailin has emphatically displayed the capital/colonial Shanghai in the 30’s of 20th century. Wang Anyi has mainly displayed Shanghai in the transition of one century and one era. Wei Hui has mainly displayed Shanghai,which is in consumption /globalization linguistic contexts in the 90’s of 20th century. Shanghai in the works of Zhang Ailing , Wang Anyi, Wei Hui is more close to " the fuse of history ", folk , negative , urban petty bourgeois Shanghai and Shanghai that consumes but is far away from Shanghai of the revolution and ideology like the storm. And this forms a pedigree of "Shanghai-writing", which is about female, negative, detailed and psychological Shanghai.Second is about the three dimensions of the intension of "Shanghai-writing". This will be discussed from Shanghai which is in time(history) , Shanghai which in folk daily life, Shanghai which is in the course of changing and not changing. The historical changes of Shanghai in the 20th century, which is written by Zhang Ailing, Wang Anyi and Wei Hui, demonstrate different forms. Zhang Ailing is the person who can catch the delight of life of Shanghai in the 30’s of 20th century. Wang Anyi has"vicissitudes senses" to the understanding of Shanghai. Wei Hui has created unprecedented image of "New Human Being " in our literature. They have depicted out the portrait and the constant common customs of Shanghai accurately and individually by the entanglement between women and time. The way of daily life always proceeds by its own inherent operatin更多还原