摘要
《良友》是“摩登西方”的一场视觉盛宴,编辑者以东方人对西方特有的文化想象方式和路径,幻想、切割、呈现了一个所谓的现代性西方,并将这一想象的“西方”作为现代化的指代性符码,以经过精心选择、刻意重组的图像形式建构了《良友》编辑主体群意识中的“他者”形象,并经广为传播,成为远离西方现代都市生活的读者们共同的想象。在这一符码性的转换和价值定位中,《良友》西方图像的取材、编辑者选材的心态、所采取的图像叙事策略和推论手段,典型地折射出中国知识阶层在界定自己的文化立场时那种特有的矛盾位移和双重焦虑,这恰恰也是1840年以来中国人最根本的精神冲突。
Good Friends is a visual banquet of the modern West, which is envisioned, fragmented and represented with the editors’ special oriental cultural imagination of the West. This special imagination of the West has been taken to be the code of modernization which, through careful selection and intentional reconstruction of the images, has become the image of the Other in the group consciousness of the editors, and through a wide promulgation, has become the common imagination of the modern western urban life among the readers. In the process of code transformation and valorization, the selection of western images, the psychology that helps make this selection, the strategy for pictorial narrative and the means of argumentation, all typically reflect the contradictory displacement and double anxiety peculiar to the Chinese intellectuals when they come to define their own cultural positions, which are exactly the fundamental spiritual conflicts of the Chinese people since 1840s.
出处
《文艺研究》
CSSCI
北大核心
2007年第1期123-133,共11页
Literature & Art Studies
