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《夜莺》(1936)是抗日战争期间的上海左翼杂志。这篇文章以《夜莺》月刊为重心,旨在比较夜莺的隐喻在西方文学传统和中国抗战语境中的异同。本文指出,夜莺的歌声在济慈在《夜莺颂》中是爱的哀歌亦是对于自然的赞美。然而在《夜莺》杂志中,夜莺的歌声被左翼知识分子召唤成了大众人民为了中国胜利的呐喊。呐喊这一意象在战时的中国十分常见,鲁迅和李桦的作品都有提及。经由文本细读,本文认为旅行中的呐喊夜莺亦展示了它和海燕的亲缘关系,经由高尔基的影响,海燕也被认为是风暴中的胜利预言者。呐喊的夜莺这一象征与其说是英国浪漫主义诗歌的子禽,不如说是社会主义现实主义风格的后代。在《夜莺》杂志的例子里,夜莺形象的变形展示了动物的旅行如何使得它在新的语境里寻求到不同的表述。
Nightingale (1936) is the Shanghai left-wing magazine during the War of Resistance Against Japanese Aggression. This essay focuses on the Nightingale journal, aiming to compare the similarities and differences between Nightingale metaphors in Western literary traditions and China’s anti-war context. This article points out that the song of Nightingale is a lament of love and a compliment to nature in Keats’s Ode at Nightingale. However, in the “Nightingale” magazine, the singing of the nightingale by the left-wing intellectuals summoned by the public for the victory of China’s cry. The image of crying is very common in wartime China, as is the work of Lu Xun and Li Hua. Through textual reading, this article argues that the crying nightingale during the trip also shows its close relationship with the petrel. Through the influence of Gorky, Petrel is also considered as the victorious prophet in the storm. The symbol of the crying nightingale is not so much a child of British romantic poetry as it is of the descendants of socialist realism. In the case of Nightingales, the deformation of the nightingale image shows how the travel of an animal makes it seek different expressions in a new context.