作　　者： ;

机构地区： 华南师范大学文学院

出　　处： 《文艺研究》 2007年第1期134-146,共13页

摘　　要： 1890—1940年代的海派媒体一直保持着“仕女图”的插画体例。从吴友如的“百艳图”到叶灵凤的“唯美/颓废主义”装饰画到郭建英的“新感觉主义”漫画到张爱玲的丑女系列,一代又一代海派艺术家以插图参与文本叙事,制造时尚潮流,开辟媒体叙述的多重空间,彼此构成一种呼应、衔接、超越、更替的关系。不同代际的“女性”形象,深藏着不同的文化意蕴,将这条线索连串起来,可以看出近现代市民文化演变的脉象。 The Shanghai media from 1890 to 1940 had throughout to the end kept the illustration system of beautiful young women. From Wu Youru’s “Hundred Beauties” to Ye Lingfeng’s “Art for Art’s sake” decos to Guo Jianying’s “New Sensibility” to Zhang Ailing’s series of ugly women, the Shanghai artists of one generation after another had made it fashionable to use illustrations as or participation in textual narrative, opening a multiple space for medium narration and forming a relation of echoes, coherency, transgression and displacement. Different “female images” of different generation may culturally mean different things, and if all these different things were linked coherently, the outline of the modern city life would be clearly drawn.

关 键 词： 百艳图 莎乐美 摩登女郎 丑女

领　　域： [文学]