本文選題：張愛玲 + 后期創(chuàng)作�。� 參考：《中國現(xiàn)代文學(xué)研究叢刊》2017年10期

【摘要】：張愛玲離港赴美后仍然筆耕不輟,但大量精力都用在"改寫",包括改編、改譯方面。有對一些古今名作的"改寫",更有對自己作品不厭其煩的"改寫"。她大約有三十年的文學(xué)生活主要處于"改寫"狀態(tài)。對這種"現(xiàn)象"進行研究,可能有助于加深對張愛玲后期創(chuàng)作及文學(xué)觀念的了解。張愛玲對"改寫"的偏好,可以視作她的某種文學(xué)認知"裝置"。本文以《浮花浪蕊》《相見歡》《色,戒》等屢經(jīng)改寫的"惘然小說"為對象,梳理張愛玲自1950年代中期至1980年代初期近三十年的小說"改寫"軌跡,將其與彼時張愛玲的文學(xué)觀念如"社會小說"論、"平淡而近自然"、對所謂"夾縫文章"的講求等相互比照印證,力圖把握張愛玲后期文學(xué)的內(nèi)在特性。
[Abstract]:After leaving Hong Kong for the United States, Zhang Ailing continued to devote much effort to "rewriting," including adaptation and translation. There are some ancient and modern masterpieces of "rewriting", but also to their own works of "rewriting." For about thirty years, her literary life was mainly "rewritten". The study of this phenomenon may help to deepen the understanding of Zhang Ailing's later works and literary ideas. Zhang Ailing's preference for rewriting can be seen as her literary cognitive device. Based on the "lost novels", which have been rewritten repeatedly, such as "seeing each other" and "seeing each other", this paper combs the "rewriting" track of Zhang Ailing's novels from the mid-1950s to the early 1980s. Comparing it with Zhang Ailing's literary ideas at that time, such as "social fiction", "insipid and near nature", and so on, the emphasis of the so-called "stitching article" is verified mutually, in order to grasp the inherent characteristics of Zhang Ailing's later literature.
【作者單位】： 首都師范大學(xué)文學(xué)院;
【分類號】：I207.42

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