论报人生活对张恨水及其小说创作的影响
摘要
本文试图从一个新的视角——报人职业对作家生活创作的影响来研究张恨水及其小说文本。
在张恨水的生活及创作意识中,报人职业的核心影响是鲜明的:它不仅改变了他的生存状态,矫正了他的消极避世的传统文人观念,而且决定了他积极入世、干预生活的创作意识。
报人职业对其小说文本的影响是多方面的:其素材多得之于记者生活积累的新闻矿藏;其聚焦于都市生活,描摹畸型社会与畸变人生,既是为报纸媒介的网络布局所决定,也是报人的批判意识使然;张恨水笔下的洁者虽出污泥而不染,却都有着悲剧的命运,洁者的悲剧既含有对畸型社会的指控,也有增强传播效果的企图;其小说文本征服广大读者的因素之一是其语言,而影响其语言的核心是报纸新闻写作——打造短句、经营动词、选择俗套语汇等;叙事的自由度对外倾型现实主义小说的创作十分关键,而张恨水的叙事策略却离不开新闻性要素——记者视角、新闻面孔等;“次文类”使文本话语“杂语化”、“社会化”,而“副文本”对文本的辅助性打造,则是灵活运用媒介手段的体现;即使是文本的局限——粗糙、夭折等也都深深的打上了大众媒介的负面印迹:这既是记者作家的通病,也是报纸连载的痼疾。
In the whole Chinese modern literature Zhang Henshui is indisputably one of the writers deserving the greatest academic attention. The reasons are as follows:
First, Zhang is a most prolific writer. In the prime time of his creation (in the 20s-30s of 20th century) his production averages about 3000 characters per day. He left totally over 30 million characters of works, of which the number of novels claims more than 100. As to the volume of works and the scope of representing life, no other modern writer could be his rival.
Second, Zhang is a most influencing writer. The response of his readers to his work was almost instantaneous. In the 20s, when Chun Ming Wai Shi was serialized on Beijing’s World Evening Paper, each afternoon when the paper was turned out, readers were queuing in front of the office for purchase; and no sooner was Jin Fen Shi Jia published on Beiping’s World Daily than people were busy “indexing”who were the persons that the book alludes; and similar instance took place with Ti Xiao Yin Yuan, which, when first shown on Shanghai’s News Report, stirred up the excitement of readers so much it lasted to a decade.
Thirdly, Zhang is a writer reclaimed by the literati. Zhang’s name was once either closely guarded as a taboo, or arbitrarily fixed as the follower of “Group of Mandarin ducks and butterflies”. However, when that phase of hard times ended, his name emerged out of the ruins of history, and in recent years, he began to hold a limelight in the mass media. By the end of last century more than a dozen of Zhang’s novels and prose collections were published. Moreover, the beginning of the new millennium saw Jin Fen Shi Jia, Ti Xiao Yin Yuan, and Man Jiang Hong all adapted and put on TV screen.
Obviously, as an extraordinary literary and cultural phenomenon, Zhang Henshui deserves our substantial academic attention. As a matter of fact, the research on him since 80s last century has been in progress indeed: his name begins to appear in various books about literature history; and the number of research essays on him grows. Yet taken as a whole, the research on Zhang is not satisfactory. There are reasons for this: the list of Zhang’s works is too long, which almost baffles the close reading and the theme classification, and his dairies and letters which can render some help on the research have long been out of reach. This situation accounts for the present status of the Zhang Henshui studies: we see more of research on his single books but less of comprehensive study; there are many research essays but few books; and most research is aimed at the familiar topics, like whether Zhang belongs to “Group of Mandarin ducks and butterflies”or not, but rare research takes on new academic approaches.
Therefore it is not only necessary but also obligatory to further the research on Zhang Henshui from new perspectives. Luckily, the relevant accomplishments of all these years have laid a sound basis for our projected research: the publication of Zhang’s numerous works, particularly the publication of The Collected Edition of Zhang Henshui’s Works, makes the job of systematic text reading convenient, thus exempted the drudgery of hunting out the needed texts; aside from the precious Memoir of My Writing Life by Zhang himself, some biographies and memoirs lately published, like Yuan Jin’s Talented Novelist Zhang Henshui, Zhang Wu’s My Father Zhang Henshui, etc. give some clues for comprehending Zhang and his works; some new works on literary history, like The History of Popular Literature of Modern China edited by Fan Boqun, break new grounds for the study of the popular literary writers; and the opening to the public of the old newspapers and magazines in the major libraries of the country (including the reprinting of some original editions),
makes us have access to the splendor of the old papers and the opportunity of viewing the original state of Zhang’s works.
This thesis tries to study Zhang Henshui and his novels by a new angle: the affects of the profession of a newspaperman on the life and creation of the writer. To choose such a research angle, the author has several reasons:
1. From 1919 when he entered Wuhu’s Wanjiang Daily to 1948 when he left Beiping’s New People, Zhang Henshui worked in journalist circles for 30 years. He was literarily an “all round newspaperman”: he acted as reporter, editor, editor-in-chief, general editor successively, he edited news as well as supplements, and he not only worked for others but also invested on his own newspaper business.
2. 20s through 40s last century was the golden time of Zhang Henshui’s newspaper business, and it was also the prime time of his literary creation. The concurrence of the two deserves consideration.
3. Around 80 per cent of Zhang’s novels were first published on newspaper by way of serialization, and in the 30s last century he undertook the whole novel serialization on News Report, Shen Report, and World Daily which had the greatest circulation of all China’s newspapers. This means that his works cater to the interests of both the media and his contemporary readers.
In this we see how his novel creation is closely related to his profession as a newspaperman. Here lies the key to interpret Zhang Henshui and his novel texts: if the conditions of his newspaperman profession are clear, his life is understood, hence the reasons why his text is this but not the other way.
This thesis divides itself into two parts: the first part mainly deals with Zhang’s life, how the writer Zhang Henshui became a newspaperman, and how his life and thoughts were thus affected by his new profession. In the second part, from seven respects including matter, content, image, language, narration, sub-genres, supplement-texts, and limitations, the author gives an inspection of
his novel texts, showing how Zhang’s newspaperman life and mass media have worked together for a decisive influence in his literary creation.
Chapter 1 With an examination of Zhang Henshui’s time, his family and his personalities, helped by the comparison of him with his famous countrymen Chen Duxiu and Hu Shi, the author explains the inevitability of his becoming a newspaperman: his personalities would not allow him to be a politician like Chen; the lack of overseas experience prevented him from becoming a cultural elite like Hu; his father’s early death and his position as the eldest son in his family urged him to get to work and get rid of poverty as early as possible; and the rapid development of the press of the time offered him great opportunities. The life of a newspaperman changed his state of living, and set him on the road for a famous writer.
Chapter 2 This chapter mainly discusses how the double-role (modern newspaperman as well as traditional literary man) affects Zhang’s psyche and creative consciousness and how they interact with each other. Zhang’s soul of a traditional literary man is manifested in two modes: in aesthetics, he likes traditional literature including classical language and ancient style poems; in his life, he practices the traditional way of living a secluded life enjoying mountains and waters. However, his role as a modern newspaperman made him positive in his life and in writing concepts as well, and he held literature as a way of taking part in, even intervening social life. Generally speaking, before 1924, he was affected more by his self-consciousness as a literary writer than as a newspaperman; from 1924 to 1935, the two consciousnesses counterbalanced; after 1935, particularly after the anti-Japanese war, his consciousness as a newspaperman grew while his ties with the identity as a literary man waned.
Chapter 3 Starting with the close inspection of the texts of his works, this chapter tries to construct the relationship between the figures and plots in his novels and the figures and stories in his real life, by which way Zhang’s
method of “assimilating news into novel while framing novel into news”is exposed. Assimilating news into novel is not an innovation by Zhang Henshui, nevertheless he contributes some extraordinary merits to this “borrowing”: unlike the limited borrowing of news by Western writers as an introduction to the expression of social ideas, or the earnest borrowing of news by late Qing satirist novelists as an explicit political attack, Zhang aims the borrowing at the society before him, and what he borrows are of a large scope, with much more sophistication.
Chapter 4 In this chapter the characteristics of the content of Zhang Henshui’s novels are analyzed. Zhang grew up in the countryside, but his novels focus on the city, particularly the city’s public life. He observes the world critically, and pictures the abnormalities of the society and the roughness of life with a satirical pen. This is decided by the situation of the media, and it achieves the best communication effects.
Chapter 5 This chapter deals with the characters in Zhang’s novels. As a general rule Zhang’s novels have many characters, however most characters only function as the carriers of news and anecdotes, and they come and go at the whimsical will of the narrator. Yet Zhang Henshui still creates some special characters: the pure ones. They are a mirror to the dirty world, and a strand of sunshine to the gloomy earth. The writer often lets them end up in tragedies. This is the outcome of his critical consciousness, and it shows his profound comprehension of the affects of tragedy.
Chapter 6 In this chapter the language of Zhang’s novels is discussed. Language is the formidable obstruction for the 5.4 New Literatures to reach the mass. Zhang could grasp the attention of his readers because his language is pure and powerful. Two factors make the way into the formation of his language style: the ancient vernacular fiction and the newspaper language. They are united and harmonized in Zhang’s novel language. The virtue of his
language is manifested in many phrases, verbs and popular idioms.
Chapter 7 This chapter discusses the function of news elements in the narration of Zhang’s novels. Zhang often employs two narrative structures in his novels: the “tree structure”and the “bead structure”, particularly the latter. The reason why the writer likes such structures is because they could accommodate many pieces of news and anecdotes into his novel. Meanwhile he thoughtfully assimilates the news elements into his novel so as to increase the freedom of his narration: first, he organizes his novels by applying the perspective of characters as reporters or quasi-reporters; second, he deploys many passages of news style in narration, which apparently bespeaks his intention of putting news elements to use in his novels.
Chapter 8 This chapter examines the function of the “sub-genres”and the “supplement-texts”in Zhang’s novels. The “sub-genres”refer to the poems, letters, news, announcements etc. that are inscribed in his novels. The “sub-genres”that appear much often in his novels have a dozen of types, which could be classified into three kinds: lyrical, narrative as well as lyrical, and declarative. In the context these “sub-genres”keep their original qualifications but achieve new functions. The functions of the lyrical “sub-genres”are: modulating the rhythm of the narration, hinting at the personalities of the characters, changing the form of the type of writing. The narrative as well as lyrical “sub-genres”are typically private discourse and have much more personal psychological information, so they function as the voice of those latent secrets in stories. In comparison the declarative “sub-genres”are typically authoritative discourse, they have the function of: announcing declarative information so as to regulate the direction of the plots’development; supplementing the narration of the progress and the outcome of the stories; constructing the objects for irony.
Originally “supplement-texts”refer to the title, preface, postscript, covers,
在张恨水的生活及创作意识中,报人职业的核心影响是鲜明的:它不仅改变了他的生存状态,矫正了他的消极避世的传统文人观念,而且决定了他积极入世、干预生活的创作意识。
报人职业对其小说文本的影响是多方面的:其素材多得之于记者生活积累的新闻矿藏;其聚焦于都市生活,描摹畸型社会与畸变人生,既是为报纸媒介的网络布局所决定,也是报人的批判意识使然;张恨水笔下的洁者虽出污泥而不染,却都有着悲剧的命运,洁者的悲剧既含有对畸型社会的指控,也有增强传播效果的企图;其小说文本征服广大读者的因素之一是其语言,而影响其语言的核心是报纸新闻写作——打造短句、经营动词、选择俗套语汇等;叙事的自由度对外倾型现实主义小说的创作十分关键,而张恨水的叙事策略却离不开新闻性要素——记者视角、新闻面孔等;“次文类”使文本话语“杂语化”、“社会化”,而“副文本”对文本的辅助性打造,则是灵活运用媒介手段的体现;即使是文本的局限——粗糙、夭折等也都深深的打上了大众媒介的负面印迹:这既是记者作家的通病,也是报纸连载的痼疾。
In the whole Chinese modern literature Zhang Henshui is indisputably one of the writers deserving the greatest academic attention. The reasons are as follows:
First, Zhang is a most prolific writer. In the prime time of his creation (in the 20s-30s of 20th century) his production averages about 3000 characters per day. He left totally over 30 million characters of works, of which the number of novels claims more than 100. As to the volume of works and the scope of representing life, no other modern writer could be his rival.
Second, Zhang is a most influencing writer. The response of his readers to his work was almost instantaneous. In the 20s, when Chun Ming Wai Shi was serialized on Beijing’s World Evening Paper, each afternoon when the paper was turned out, readers were queuing in front of the office for purchase; and no sooner was Jin Fen Shi Jia published on Beiping’s World Daily than people were busy “indexing”who were the persons that the book alludes; and similar instance took place with Ti Xiao Yin Yuan, which, when first shown on Shanghai’s News Report, stirred up the excitement of readers so much it lasted to a decade.
Thirdly, Zhang is a writer reclaimed by the literati. Zhang’s name was once either closely guarded as a taboo, or arbitrarily fixed as the follower of “Group of Mandarin ducks and butterflies”. However, when that phase of hard times ended, his name emerged out of the ruins of history, and in recent years, he began to hold a limelight in the mass media. By the end of last century more than a dozen of Zhang’s novels and prose collections were published. Moreover, the beginning of the new millennium saw Jin Fen Shi Jia, Ti Xiao Yin Yuan, and Man Jiang Hong all adapted and put on TV screen.
Obviously, as an extraordinary literary and cultural phenomenon, Zhang Henshui deserves our substantial academic attention. As a matter of fact, the research on him since 80s last century has been in progress indeed: his name begins to appear in various books about literature history; and the number of research essays on him grows. Yet taken as a whole, the research on Zhang is not satisfactory. There are reasons for this: the list of Zhang’s works is too long, which almost baffles the close reading and the theme classification, and his dairies and letters which can render some help on the research have long been out of reach. This situation accounts for the present status of the Zhang Henshui studies: we see more of research on his single books but less of comprehensive study; there are many research essays but few books; and most research is aimed at the familiar topics, like whether Zhang belongs to “Group of Mandarin ducks and butterflies”or not, but rare research takes on new academic approaches.
Therefore it is not only necessary but also obligatory to further the research on Zhang Henshui from new perspectives. Luckily, the relevant accomplishments of all these years have laid a sound basis for our projected research: the publication of Zhang’s numerous works, particularly the publication of The Collected Edition of Zhang Henshui’s Works, makes the job of systematic text reading convenient, thus exempted the drudgery of hunting out the needed texts; aside from the precious Memoir of My Writing Life by Zhang himself, some biographies and memoirs lately published, like Yuan Jin’s Talented Novelist Zhang Henshui, Zhang Wu’s My Father Zhang Henshui, etc. give some clues for comprehending Zhang and his works; some new works on literary history, like The History of Popular Literature of Modern China edited by Fan Boqun, break new grounds for the study of the popular literary writers; and the opening to the public of the old newspapers and magazines in the major libraries of the country (including the reprinting of some original editions),
makes us have access to the splendor of the old papers and the opportunity of viewing the original state of Zhang’s works.
This thesis tries to study Zhang Henshui and his novels by a new angle: the affects of the profession of a newspaperman on the life and creation of the writer. To choose such a research angle, the author has several reasons:
1. From 1919 when he entered Wuhu’s Wanjiang Daily to 1948 when he left Beiping’s New People, Zhang Henshui worked in journalist circles for 30 years. He was literarily an “all round newspaperman”: he acted as reporter, editor, editor-in-chief, general editor successively, he edited news as well as supplements, and he not only worked for others but also invested on his own newspaper business.
2. 20s through 40s last century was the golden time of Zhang Henshui’s newspaper business, and it was also the prime time of his literary creation. The concurrence of the two deserves consideration.
3. Around 80 per cent of Zhang’s novels were first published on newspaper by way of serialization, and in the 30s last century he undertook the whole novel serialization on News Report, Shen Report, and World Daily which had the greatest circulation of all China’s newspapers. This means that his works cater to the interests of both the media and his contemporary readers.
In this we see how his novel creation is closely related to his profession as a newspaperman. Here lies the key to interpret Zhang Henshui and his novel texts: if the conditions of his newspaperman profession are clear, his life is understood, hence the reasons why his text is this but not the other way.
This thesis divides itself into two parts: the first part mainly deals with Zhang’s life, how the writer Zhang Henshui became a newspaperman, and how his life and thoughts were thus affected by his new profession. In the second part, from seven respects including matter, content, image, language, narration, sub-genres, supplement-texts, and limitations, the author gives an inspection of
his novel texts, showing how Zhang’s newspaperman life and mass media have worked together for a decisive influence in his literary creation.
Chapter 1 With an examination of Zhang Henshui’s time, his family and his personalities, helped by the comparison of him with his famous countrymen Chen Duxiu and Hu Shi, the author explains the inevitability of his becoming a newspaperman: his personalities would not allow him to be a politician like Chen; the lack of overseas experience prevented him from becoming a cultural elite like Hu; his father’s early death and his position as the eldest son in his family urged him to get to work and get rid of poverty as early as possible; and the rapid development of the press of the time offered him great opportunities. The life of a newspaperman changed his state of living, and set him on the road for a famous writer.
Chapter 2 This chapter mainly discusses how the double-role (modern newspaperman as well as traditional literary man) affects Zhang’s psyche and creative consciousness and how they interact with each other. Zhang’s soul of a traditional literary man is manifested in two modes: in aesthetics, he likes traditional literature including classical language and ancient style poems; in his life, he practices the traditional way of living a secluded life enjoying mountains and waters. However, his role as a modern newspaperman made him positive in his life and in writing concepts as well, and he held literature as a way of taking part in, even intervening social life. Generally speaking, before 1924, he was affected more by his self-consciousness as a literary writer than as a newspaperman; from 1924 to 1935, the two consciousnesses counterbalanced; after 1935, particularly after the anti-Japanese war, his consciousness as a newspaperman grew while his ties with the identity as a literary man waned.
Chapter 3 Starting with the close inspection of the texts of his works, this chapter tries to construct the relationship between the figures and plots in his novels and the figures and stories in his real life, by which way Zhang’s
method of “assimilating news into novel while framing novel into news”is exposed. Assimilating news into novel is not an innovation by Zhang Henshui, nevertheless he contributes some extraordinary merits to this “borrowing”: unlike the limited borrowing of news by Western writers as an introduction to the expression of social ideas, or the earnest borrowing of news by late Qing satirist novelists as an explicit political attack, Zhang aims the borrowing at the society before him, and what he borrows are of a large scope, with much more sophistication.
Chapter 4 In this chapter the characteristics of the content of Zhang Henshui’s novels are analyzed. Zhang grew up in the countryside, but his novels focus on the city, particularly the city’s public life. He observes the world critically, and pictures the abnormalities of the society and the roughness of life with a satirical pen. This is decided by the situation of the media, and it achieves the best communication effects.
Chapter 5 This chapter deals with the characters in Zhang’s novels. As a general rule Zhang’s novels have many characters, however most characters only function as the carriers of news and anecdotes, and they come and go at the whimsical will of the narrator. Yet Zhang Henshui still creates some special characters: the pure ones. They are a mirror to the dirty world, and a strand of sunshine to the gloomy earth. The writer often lets them end up in tragedies. This is the outcome of his critical consciousness, and it shows his profound comprehension of the affects of tragedy.
Chapter 6 In this chapter the language of Zhang’s novels is discussed. Language is the formidable obstruction for the 5.4 New Literatures to reach the mass. Zhang could grasp the attention of his readers because his language is pure and powerful. Two factors make the way into the formation of his language style: the ancient vernacular fiction and the newspaper language. They are united and harmonized in Zhang’s novel language. The virtue of his
language is manifested in many phrases, verbs and popular idioms.
Chapter 7 This chapter discusses the function of news elements in the narration of Zhang’s novels. Zhang often employs two narrative structures in his novels: the “tree structure”and the “bead structure”, particularly the latter. The reason why the writer likes such structures is because they could accommodate many pieces of news and anecdotes into his novel. Meanwhile he thoughtfully assimilates the news elements into his novel so as to increase the freedom of his narration: first, he organizes his novels by applying the perspective of characters as reporters or quasi-reporters; second, he deploys many passages of news style in narration, which apparently bespeaks his intention of putting news elements to use in his novels.
Chapter 8 This chapter examines the function of the “sub-genres”and the “supplement-texts”in Zhang’s novels. The “sub-genres”refer to the poems, letters, news, announcements etc. that are inscribed in his novels. The “sub-genres”that appear much often in his novels have a dozen of types, which could be classified into three kinds: lyrical, narrative as well as lyrical, and declarative. In the context these “sub-genres”keep their original qualifications but achieve new functions. The functions of the lyrical “sub-genres”are: modulating the rhythm of the narration, hinting at the personalities of the characters, changing the form of the type of writing. The narrative as well as lyrical “sub-genres”are typically private discourse and have much more personal psychological information, so they function as the voice of those latent secrets in stories. In comparison the declarative “sub-genres”are typically authoritative discourse, they have the function of: announcing declarative information so as to regulate the direction of the plots’development; supplementing the narration of the progress and the outcome of the stories; constructing the objects for irony.
Originally “supplement-texts”refer to the title, preface, postscript, covers,
引文
1、张恨水:《张恨水全集》,北岳文艺出版社1993 年版。
2、张占国、魏守忠编:《张恨水研究资料》,天津人民出版社1986 年版。
3、魏绍昌编:《鸳鸯蝴蝶派研究资料》,上海文艺出版社1984 年版。
4、董康成、徐传礼:《闲话张恨水》,黄山书社1987 年版。
5、张毅:《文人的黄昏》,华夏出版社1991 年版。
6、张明明:《回忆我的父亲张恨水》,香港广角镜出版社1979 年版。
7、袁进:《小说奇才张恨水》,上海书店出版社1999 年版。
8、石楠:《张恨水传》,江苏文艺出版社2000 年版。
9、闻涛:《张恨水传》,团结出版社1999 年版。
10、张伍:《我的父亲张恨水》,春风文艺出版社2002 年版。
11、黄永林:《张恨水及其作品论》,华中师范大学出版社2003 年版。
12、杨义主编:《张恨水名作欣赏》,中国和平出版社2002 年版。
13、范伯群主编:《中国近现代通俗文学史》,江苏教育出版社2000 年版。
14、谢立庆:《中国近现代通俗社会言情小说史》,群众出版社2002 年版。
15、徐德明:《中国现代小说雅俗流变与整合》,社会科学文献出版社2000年版。
16、张华:《中国现代通俗小说流变》,山东文艺出版社2000 年版。
17、王锺陵主编:《二十世纪中国文学史文论精华·小说卷》,河北教育出版社2000 年版。
18、刘纳:《嬗变——辛亥革命时期至五四时期的中国文学》,中国社会科学出版社1998 年版。
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20、方明光编著:《海上旧梦影》,上海人民出版社2003 年版。
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22、王尔敏:《近代文化生态及其变迁》,百花洲文艺出版社2002 年版。
23、陈子展:《中国近代文学之变迁·最近三十年中国文学史》,上海古籍出版社2000 年版。
24、[美]李欧梵:《上海摩登——一种新都市文化在中国1930—1945》,北京大学出版社2001 年版。
25、陈万雄:《五四新文化的源流》,三联书店1997 年版。
26、余英时:《士与中国文化》,上海人民出版社2003 年版。
27、鲁湘元:《稿酬怎样搅动文坛——市场经济与中国近现代文学》,红旗出版社1998 年版。
28、陈明远:《文化人与钱》,百花文艺出版社2001 年版。
29、陈子善编:《夜上海》,经济日报出版社2003 年版。
30、阿英:《晚清小说史》,东方出版社1996 年版。
31、曹聚仁:《文坛五十年》,东方出版中心1997 年版。
32、陈大康:《中国近代小说编年》,华东师范大学出版社2002 年版。
33、周晓明:《多源与多元:从中国留学族到新月派》,华中师范大学出版社2001 年版。
34、田中阳:《百年文学与市民文化》,湖南教育出版社2002 年版。
35、周时奋:《市井》,山东画报出版社2003 年版。
36、郑逸梅:《郑逸梅选集》,黑龙江人民出版社2001 年版。
37、冯并:《中国文艺副刊史》,华文出版社2001 年版。
38、张元济:《张元济日记》,河北教育出版社2001 年版。
39、[美]费正清编:《剑桥中华民国史》,中国社会科学出版社1998 年版。
40、胡适:《胡适文集》,人民文学出版社1998 年版。
41、孙燕京:《晚清社会风尚研究》,中国人民大学出版社2002 年版。
42、蒋梦麟:《西潮·新潮》,岳麓书社2000 年版。
43、郭湛波:《近五十年中国思想史》,山东人民出版社1997 年版。
44、赵园:《北京:城与人》,北京大学出版社2002 年版。
45、郁达夫:《艺文私见》,复旦大学出版社2004 年版。
46、邓云乡:《水流云在丛稿》,中华书局2001 年版。
47、陈思和:《犬耕集》,上海远东出版社1996 年版。
48、钱理群等:《中国现代文学三十年》,北京大学出版社1998 年版。
49、王晓明主编:《二十世纪中国文学史论》,东方出版中心2003 年版。
50、李康化:《漫话老上海知识阶层》,上海人民出版社2003 年版。
51、方汉奇主编:《中国新闻事业通史》,中国人民大学出版社1997 年版。
52、戈公振:《中国报学史》,上海古籍出版社2003 年版。
53、宋军:《申报的兴衰》,上海社会科学出版社1996 年版。
54、陈玉申:《晚清报业史》,山东画报出版社2003 年版。
55、吴廷俊:《中国新闻传播史稿》,华中理工大学出版社。
56、刘家林:《中国新闻通史》,武汉大学出版社1995 年版。
57、白润生等编著:《新闻界趣闻录》,复旦大学出版社1995 年版。
58、刘小清等编著:《中国百年报业掌故》,江苏人民出版社2001 年版。
59、包礼祥:《近代文学与传播》,江西人民出版社2001 年版。
60、马永强:《文化传播与现代中国文学》,安徽大学出版社2003 年版。
61、陈平原等编:《大众传媒与现代文学》,新世界出版社2003 年版。
62、陈平原:《文学的周边》,新世界出版社2004 年版。
63、陈平原:《当代中国人文观察》,人民文学出版社2004 年版。
64、杨扬:《商务印书馆:民间出版业的兴衰》,上海教育出版社2000 年版。
65、马国亮:《良友忆旧:一家画报与一个时代》,三联书店2002 年版。
66、邹振环:《20 世纪上海翻译出版与文化变迁》,广西教育出版社2001年版。
67、吴相:《从印刷作坊到出版重镇》,广西教育出版社1999 年版。
68、郭汾阳等:《报馆旧踪》,江西教育出版社1999 年版。
69、徐铸成:《报人六十年》,学林出版社1999 年版。
70、张人凤:《张元济》,山东画报出版社2001 年版。
71、王芝琛:《百年沧桑》,中国工人出版社2001 年版。
72、王芝琛等编:《1949 年以前的大公报》,出东晨报出版社2002 年版。
73、方汉奇等:《<大公报>百年史》,中国人民大学出版社2004 年版。
74、中国人民大学港澳台新闻研究所编:《报海生涯》,新华出版社1998 年版。
75、蒋丽萍、林伟平:《民间的回声》,新世界出版社2004 年版。
76、[美]沃尔特·福克斯:《新闻写作》,新华出版社1999 年版。
77、[美]罗伯特·M·奈特:《最佳写作要领》,新华出版社1999 年版。
78、与张恨水相关的几张重要报纸,即1924 年至1949 年期间的《世界日报》、《新闻报》、《新民报》等部分副刊版面与相关文章。
79、与张恨水相关的重要报纸《新闻报》、《申报》等状况,参考了《文史资料选辑》第4 辑、第17 辑、第18 辑等。
80、[加]马歇尔·麦克卢汉:《理解媒介》,商务印书馆2001 年版。
81、[美]约翰·费斯克:《理解大众文化》,中央编译出版社2001 年版。
82、[英]多米尼克·斯特里纳蒂:《通俗文化理论导论》,商务印书馆2001年版。
83、[美]马克·波斯特:《信息方式》,商务印书馆2000 年版。
84、[加]菲利普·马尔尚:《麦克卢汉——媒介及信使》,中国人民大学出版社2003 年版。
85、[法]弗兰克·埃夫拉尔:《杂闻与文学》,天津人民出版社2003 年版。
86、[法]安娜·埃尔舍博格·皮埃罗:《俗套与套语》,天津人民出版社2003年版。
87、[法]克洛德·托马塞:《新小说·新电影》,天津人民出版社2003 年版。
88、[美]伊恩·P·瓦特:《小说的兴起》,三联书店1992 年版。
89、[俄]巴赫金:《小说理论》,河北教育出版社1998 年版。
90、[美]W·C·布斯:《小说修辞学》,北京大学出版社1987 年版。
91、[美]华莱士·马丁:《当代叙事学》,北京大学出版社1990 年版。
92、陈平原:《中国小说叙事模式的转变》,上海人民出版社1988 年版。
93、格非:《小说叙事研究》,清华大学出版社2002 年版。
94、[法]罗贝尔·埃斯卡皮:《文学社会学》,浙江人民出版社1987 年版。
95、[德]沃·伊瑟尔:《阅读行为》,湖南文艺出版社1991 年版。
96、[美]莫提默·J·艾德勒、查尔斯·范多伦:《如何阅读一本书》,商务印书馆2004 年版。
97、朱光潜:《悲剧心理学》,人民文学出版社1987 年版。
98、单世联:《现代性与文化工业》,广东人民出版社2001 年版。
99、徐有威、[英]贝思飞主编:《洋票与绑匪——外国人眼中的民国社会》,上海古籍出版社1998 年版。
100、伍蠡甫主编:《西方文论选》,上海译文出版社1986 年版。
101、童庆炳:《文体与文体的创造》,云南人民出版社1999 年版。
102、袁进:《近代文学的突围》,上海人民出版社2001 年版。
103、郑逸梅:《我认识的张恨水》,载《郑逸梅笔下的文化名人》,上海书店出版社2002 年版。
104、郑逸梅:《张恨水全集序言》,载《郑逸梅笔下的文化名人》,上海书店出版社2002 年版。
105、郑逸梅:《民兴社时代之张恨水》,载《郑逸梅选集》第三卷,黑龙江人民出版社1991 年版。
106、张友鸾:《章回小说大师张恨水》,《张恨水作品经典·金粉世家》代后记,群众出版社1997 年版。
107、左笑鸿:《是野史》,《张恨水作品经典·春明外史》代序,群众出版社1997 年版。
108、范伯群:《张恨水研究与通俗文学理论工程建设》,载《通俗文学评论》1994 年第4 期。
109、袁进:《如何深化张恨水研究》,载《通俗文学评论》1994 年第4 期。
110、徐传礼:《关于张恨水研究的两大问题,》载《张恨水研究论文集》,安徽文艺出版社1990 年版。
111、张涛甫:《张恨水的报人角色》,载《中国现代文学丛刊》1998 年第4
2、张占国、魏守忠编:《张恨水研究资料》,天津人民出版社1986 年版。
3、魏绍昌编:《鸳鸯蝴蝶派研究资料》,上海文艺出版社1984 年版。
4、董康成、徐传礼:《闲话张恨水》,黄山书社1987 年版。
5、张毅:《文人的黄昏》,华夏出版社1991 年版。
6、张明明:《回忆我的父亲张恨水》,香港广角镜出版社1979 年版。
7、袁进:《小说奇才张恨水》,上海书店出版社1999 年版。
8、石楠:《张恨水传》,江苏文艺出版社2000 年版。
9、闻涛:《张恨水传》,团结出版社1999 年版。
10、张伍:《我的父亲张恨水》,春风文艺出版社2002 年版。
11、黄永林:《张恨水及其作品论》,华中师范大学出版社2003 年版。
12、杨义主编:《张恨水名作欣赏》,中国和平出版社2002 年版。
13、范伯群主编:《中国近现代通俗文学史》,江苏教育出版社2000 年版。
14、谢立庆:《中国近现代通俗社会言情小说史》,群众出版社2002 年版。
15、徐德明:《中国现代小说雅俗流变与整合》,社会科学文献出版社2000年版。
16、张华:《中国现代通俗小说流变》,山东文艺出版社2000 年版。
17、王锺陵主编:《二十世纪中国文学史文论精华·小说卷》,河北教育出版社2000 年版。
18、刘纳:《嬗变——辛亥革命时期至五四时期的中国文学》,中国社会科学出版社1998 年版。
19、王德威:《想像中国的方法》,三联书店1998 年版。
20、方明光编著:《海上旧梦影》,上海人民出版社2003 年版。
21、陈方竞:《多重对话:中国新文学的发生》,人民文学出版社2003 年版。
22、王尔敏:《近代文化生态及其变迁》,百花洲文艺出版社2002 年版。
23、陈子展:《中国近代文学之变迁·最近三十年中国文学史》,上海古籍出版社2000 年版。
24、[美]李欧梵:《上海摩登——一种新都市文化在中国1930—1945》,北京大学出版社2001 年版。
25、陈万雄:《五四新文化的源流》,三联书店1997 年版。
26、余英时:《士与中国文化》,上海人民出版社2003 年版。
27、鲁湘元:《稿酬怎样搅动文坛——市场经济与中国近现代文学》,红旗出版社1998 年版。
28、陈明远:《文化人与钱》,百花文艺出版社2001 年版。
29、陈子善编:《夜上海》,经济日报出版社2003 年版。
30、阿英:《晚清小说史》,东方出版社1996 年版。
31、曹聚仁:《文坛五十年》,东方出版中心1997 年版。
32、陈大康:《中国近代小说编年》,华东师范大学出版社2002 年版。
33、周晓明:《多源与多元:从中国留学族到新月派》,华中师范大学出版社2001 年版。
34、田中阳:《百年文学与市民文化》,湖南教育出版社2002 年版。
35、周时奋:《市井》,山东画报出版社2003 年版。
36、郑逸梅:《郑逸梅选集》,黑龙江人民出版社2001 年版。
37、冯并:《中国文艺副刊史》,华文出版社2001 年版。
38、张元济:《张元济日记》,河北教育出版社2001 年版。
39、[美]费正清编:《剑桥中华民国史》,中国社会科学出版社1998 年版。
40、胡适:《胡适文集》,人民文学出版社1998 年版。
41、孙燕京:《晚清社会风尚研究》,中国人民大学出版社2002 年版。
42、蒋梦麟:《西潮·新潮》,岳麓书社2000 年版。
43、郭湛波:《近五十年中国思想史》,山东人民出版社1997 年版。
44、赵园:《北京:城与人》,北京大学出版社2002 年版。
45、郁达夫:《艺文私见》,复旦大学出版社2004 年版。
46、邓云乡:《水流云在丛稿》,中华书局2001 年版。
47、陈思和:《犬耕集》,上海远东出版社1996 年版。
48、钱理群等:《中国现代文学三十年》,北京大学出版社1998 年版。
49、王晓明主编:《二十世纪中国文学史论》,东方出版中心2003 年版。
50、李康化:《漫话老上海知识阶层》,上海人民出版社2003 年版。
51、方汉奇主编:《中国新闻事业通史》,中国人民大学出版社1997 年版。
52、戈公振:《中国报学史》,上海古籍出版社2003 年版。
53、宋军:《申报的兴衰》,上海社会科学出版社1996 年版。
54、陈玉申:《晚清报业史》,山东画报出版社2003 年版。
55、吴廷俊:《中国新闻传播史稿》,华中理工大学出版社。
56、刘家林:《中国新闻通史》,武汉大学出版社1995 年版。
57、白润生等编著:《新闻界趣闻录》,复旦大学出版社1995 年版。
58、刘小清等编著:《中国百年报业掌故》,江苏人民出版社2001 年版。
59、包礼祥:《近代文学与传播》,江西人民出版社2001 年版。
60、马永强:《文化传播与现代中国文学》,安徽大学出版社2003 年版。
61、陈平原等编:《大众传媒与现代文学》,新世界出版社2003 年版。
62、陈平原:《文学的周边》,新世界出版社2004 年版。
63、陈平原:《当代中国人文观察》,人民文学出版社2004 年版。
64、杨扬:《商务印书馆:民间出版业的兴衰》,上海教育出版社2000 年版。
65、马国亮:《良友忆旧:一家画报与一个时代》,三联书店2002 年版。
66、邹振环:《20 世纪上海翻译出版与文化变迁》,广西教育出版社2001年版。
67、吴相:《从印刷作坊到出版重镇》,广西教育出版社1999 年版。
68、郭汾阳等:《报馆旧踪》,江西教育出版社1999 年版。
69、徐铸成:《报人六十年》,学林出版社1999 年版。
70、张人凤:《张元济》,山东画报出版社2001 年版。
71、王芝琛:《百年沧桑》,中国工人出版社2001 年版。
72、王芝琛等编:《1949 年以前的大公报》,出东晨报出版社2002 年版。
73、方汉奇等:《<大公报>百年史》,中国人民大学出版社2004 年版。
74、中国人民大学港澳台新闻研究所编:《报海生涯》,新华出版社1998 年版。
75、蒋丽萍、林伟平:《民间的回声》,新世界出版社2004 年版。
76、[美]沃尔特·福克斯:《新闻写作》,新华出版社1999 年版。
77、[美]罗伯特·M·奈特:《最佳写作要领》,新华出版社1999 年版。
78、与张恨水相关的几张重要报纸,即1924 年至1949 年期间的《世界日报》、《新闻报》、《新民报》等部分副刊版面与相关文章。
79、与张恨水相关的重要报纸《新闻报》、《申报》等状况,参考了《文史资料选辑》第4 辑、第17 辑、第18 辑等。
80、[加]马歇尔·麦克卢汉:《理解媒介》,商务印书馆2001 年版。
81、[美]约翰·费斯克:《理解大众文化》,中央编译出版社2001 年版。
82、[英]多米尼克·斯特里纳蒂:《通俗文化理论导论》,商务印书馆2001年版。
83、[美]马克·波斯特:《信息方式》,商务印书馆2000 年版。
84、[加]菲利普·马尔尚:《麦克卢汉——媒介及信使》,中国人民大学出版社2003 年版。
85、[法]弗兰克·埃夫拉尔:《杂闻与文学》,天津人民出版社2003 年版。
86、[法]安娜·埃尔舍博格·皮埃罗:《俗套与套语》,天津人民出版社2003年版。
87、[法]克洛德·托马塞:《新小说·新电影》,天津人民出版社2003 年版。
88、[美]伊恩·P·瓦特:《小说的兴起》,三联书店1992 年版。
89、[俄]巴赫金:《小说理论》,河北教育出版社1998 年版。
90、[美]W·C·布斯:《小说修辞学》,北京大学出版社1987 年版。
91、[美]华莱士·马丁:《当代叙事学》,北京大学出版社1990 年版。
92、陈平原:《中国小说叙事模式的转变》,上海人民出版社1988 年版。
93、格非:《小说叙事研究》,清华大学出版社2002 年版。
94、[法]罗贝尔·埃斯卡皮:《文学社会学》,浙江人民出版社1987 年版。
95、[德]沃·伊瑟尔:《阅读行为》,湖南文艺出版社1991 年版。
96、[美]莫提默·J·艾德勒、查尔斯·范多伦:《如何阅读一本书》,商务印书馆2004 年版。
97、朱光潜:《悲剧心理学》,人民文学出版社1987 年版。
98、单世联:《现代性与文化工业》,广东人民出版社2001 年版。
99、徐有威、[英]贝思飞主编:《洋票与绑匪——外国人眼中的民国社会》,上海古籍出版社1998 年版。
100、伍蠡甫主编:《西方文论选》,上海译文出版社1986 年版。
101、童庆炳:《文体与文体的创造》,云南人民出版社1999 年版。
102、袁进:《近代文学的突围》,上海人民出版社2001 年版。
103、郑逸梅:《我认识的张恨水》,载《郑逸梅笔下的文化名人》,上海书店出版社2002 年版。
104、郑逸梅:《张恨水全集序言》,载《郑逸梅笔下的文化名人》,上海书店出版社2002 年版。
105、郑逸梅:《民兴社时代之张恨水》,载《郑逸梅选集》第三卷,黑龙江人民出版社1991 年版。
106、张友鸾:《章回小说大师张恨水》,《张恨水作品经典·金粉世家》代后记,群众出版社1997 年版。
107、左笑鸿:《是野史》,《张恨水作品经典·春明外史》代序,群众出版社1997 年版。
108、范伯群:《张恨水研究与通俗文学理论工程建设》,载《通俗文学评论》1994 年第4 期。
109、袁进:《如何深化张恨水研究》,载《通俗文学评论》1994 年第4 期。
110、徐传礼:《关于张恨水研究的两大问题,》载《张恨水研究论文集》,安徽文艺出版社1990 年版。
111、张涛甫:《张恨水的报人角色》,载《中国现代文学丛刊》1998 年第4