现代通俗文学杂志的“争红斗紫”
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摘要
世界书局和大东书局在现代都市化进程中对满足市民阶层通俗文化欲求的通俗文学创作进行积极的编创行动和商业运作,分别推出"红色系列"和"紫色系列"这类现代通俗文学杂志。在通俗文学杂志出版界,世界书局的"红色系列"和大东书局的"紫色系列"搭建了两条通往现代通俗文学杂志的期刊脉络,二者隐藏在同一性背后的是明显的差异性,看似雷同,却风格迥异,有各自的发行特色和创刊内容,其在现代呈现出的文化异质、在现代都市迎合市民趣味的大众文化书写方式和在通俗视域下的现代性表征都值得探究。
In the process of modern urbanization,World Book Company and Dadong Book Company have actively compiled popular literary works and commercially operated,to meet the needs of the public. They have launched such modern popular literary magazines as the"Red Series"and the"Purple Series"respectively. In the publishing circle of popular literary magazines,the "Red Series"of World Book Company and the "Purple Series"of Dadong Book Company have constructed two magazine veins leading to modern popular literary magazines. Behind the similarities,there are obvious differences,seemingly identical but with different styles,and each has its own characteristics of publication and the content of its original publication. The cultural heterogeneity in modern times,the writing style of popular culture catering to the interests of citizens,and the modernity in the popular perspective,these are worth exploring.
In the process of modern urbanization,World Book Company and Dadong Book Company have actively compiled popular literary works and commercially operated,to meet the needs of the public. They have launched such modern popular literary magazines as the"Red Series"and the"Purple Series"respectively. In the publishing circle of popular literary magazines,the "Red Series"of World Book Company and the "Purple Series"of Dadong Book Company have constructed two magazine veins leading to modern popular literary magazines. Behind the similarities,there are obvious differences,seemingly identical but with different styles,and each has its own characteristics of publication and the content of its original publication. The cultural heterogeneity in modern times,the writing style of popular culture catering to the interests of citizens,and the modernity in the popular perspective,these are worth exploring.
引文
[1]钱理群.中国现代文学编年史——以文学广告为中心(1915—1927)[M].北京:北京大学出版社,2013.
[2]范伯群.中国近现代通俗文学史:上卷[M].南京:江苏教育出版社,2000.
[3]石娟.世界书局、大东书局的通俗文学出版及商业运作[J].编辑之友,2013(8):103-105.
[4]凌励.世界书局研究[D].上海:上海师范大学,2016.
[5]石娟.“个人杂志”的“投降”——周瘦鹃与《半月》《紫兰花片》《紫罗兰》[J].新文学史料,2014(2):110-122.
[6]博玫.“日常叙事”审美与《紫罗兰》表述方式[J].安徽大学学报(哲学社会科学版),2010(4):91-101.
[7]郭雨.平民的狂欢——《红玫瑰》研究[D].苏州:苏州大学,2007.
[8]李晨曦.透析《红杂志》的“红”[D].青岛:青岛大学,2011.
[9]代飞飞.且看消闲客,唱述市井新——《红杂志》新论[D].济南:山东师范大学,2017.
[10]范伯群.通俗文学的现代化与现代文化市场的创建[J].南京师范大学文学院学报,2002(3):62-68.
[11]吴拥军. 1920年代上海之市民文化镜像——以《半月》和《紫罗兰》为中心[D].厦门:厦门大学,2007.
[12]李欧梵.上海摩登——一种新都市文化在中国[M].杭州:浙江大学出版社,2017.
[2]范伯群.中国近现代通俗文学史:上卷[M].南京:江苏教育出版社,2000.
[3]石娟.世界书局、大东书局的通俗文学出版及商业运作[J].编辑之友,2013(8):103-105.
[4]凌励.世界书局研究[D].上海:上海师范大学,2016.
[5]石娟.“个人杂志”的“投降”——周瘦鹃与《半月》《紫兰花片》《紫罗兰》[J].新文学史料,2014(2):110-122.
[6]博玫.“日常叙事”审美与《紫罗兰》表述方式[J].安徽大学学报(哲学社会科学版),2010(4):91-101.
[7]郭雨.平民的狂欢——《红玫瑰》研究[D].苏州:苏州大学,2007.
[8]李晨曦.透析《红杂志》的“红”[D].青岛:青岛大学,2011.
[9]代飞飞.且看消闲客,唱述市井新——《红杂志》新论[D].济南:山东师范大学,2017.
[10]范伯群.通俗文学的现代化与现代文化市场的创建[J].南京师范大学文学院学报,2002(3):62-68.
[11]吴拥军. 1920年代上海之市民文化镜像——以《半月》和《紫罗兰》为中心[D].厦门:厦门大学,2007.
[12]李欧梵.上海摩登——一种新都市文化在中国[M].杭州:浙江大学出版社,2017.