张爱玲外文论文发表

张爱玲[zhāng ài líng]著名女作家更多义项更多图片(14张)张爱玲，中国现代作家，原籍河北省唐山市，原名张瑛。1920年09月30日出生在上海公共租界西区常德公寓。作品主要有小说、散文、电影剧本以及文学论著，她的书信也被人们作为著作的一部分加以研究。1944年张爱玲结识胡兰成与之交往。1973年，张爱玲定居洛杉矶，1995年09月08日，适逢中秋节，张爱玲的房东发现她逝世于加州韦斯特伍德市罗彻斯特大道的公寓，因动脉硬化心血管病而去世，终年75岁，中文名：张爱玲外文名：Eileen Chang别名：张瑛（父母取名）国籍：中国民族：汉族出生地：上海市静安区出生日期：1920年09月30日逝世日期：1995年09月08日职业：作家毕业院校：香港大学、圣约翰大学（皆辍学）代表作品：《金锁记》、《倾城之恋》、《半生缘》、《红玫瑰与白玫瑰》等血型：O型丈夫：胡兰成；赖雅（美国）笔名：梁京祖籍：河北省唐山市丰润区分享人物生平早年经历张爱玲系出名门，祖父张佩纶是清末名臣，祖母李菊耦是朝廷重臣李鸿章的长女。父亲张志沂（字廷众）、母黄素琼（字逸梵）。张爱玲母亲--黄逸梵1920年9月30日张爱玲出生于上海麦根路（今泰兴路），原籍河北丰润，原名张瑛。1921年12月11日，唯一的弟弟张子静出生。1922年张爱玲随父亲迁居天津英租界。父任职金浦路铁路局英文秘书。1924年，张爱玲开始私塾教育，母亲与姑姑张茂渊奔赴欧洲游学，张爱玲由姨奶奶看管。1928年，父亲辞去职务，由天津搬回上海，母亲和姑姑也由英国返回上海。张爱玲开始学习绘画，英文和钢琴，并开始读《三国演义》、《西游记》、《七侠五义》等古典名著。1930年入黄氏小学插班读六年级。张改名为张爱玲（改自其英文名：Eileen），同年父母协议离婚，母亲与姑姑搬出宝隆花园洋房，在法租界租房住，张爱玲仍然随父亲生活。1931年，张爱玲入读上海圣玛利亚女校，随白俄罗斯练习钢琴。1932年，母亲去往法国，张爱玲首次发表短篇小说《不幸的她》于圣玛利亚校刊。1933年，张爱玲在圣玛利亚发表第一篇散文《迟暮》，并开始与父亲学写旧诗。1934年父亲再婚，后母为孙宝琦之女孙用蕃，并迁回麦根路别墅。张爱玲写《理想中的理想村》、《摩登红楼梦》、《后母的心》等文章，但是皆未发表。1936年，母亲携美国男友返回上海，张爱玲在《凤藻》上发表散文《秋雨》。1937年，张爱玲在圣玛利亚校刊《国光》半月刊发表小说《牛》、《霸王别姬》及评张若谨小说《若馨评》。在《凤藻》发表《论卡通画之前途》。后与后母因一点小事发生口角，被父亲责打，并拘禁半年。1938年年初，张爱玲趁夜逃到母亲家（详见张爱玲自传散文《私语》）。同年张爱玲参加伦敦大学远东区入学考试，得第一名。 点击加载更多

CLOTHING MARKET : The UK retail clothing market was worth $43 billion in 2000, having grown by just 3.8% since 1999. Women’s, girls' and children's clothing account for the major share of the market, making up 68.7% of the total value. The increase in working women might have been expected to cause an upsurge in demand for smart clothing, but a major feature of the market has been a trend towards dressing down. Men's tailors, such as Moss Bros Group and Austin Reed Group, have suffered from the demise of the formal suit, while the retail chain Ted Baker, which targets the 18-25 year old market, has embraced the trend and recently recorded a pre-tax profit margin almost four times that of the industry average. In the world of UK fashion, it is the ability to identify and respond immediately to trends that is all-important. Textile manufacturing is in serious decline and clothing retailers continue to find trading conditions difficult in the face of weak consumer demand and heavy discounting. Marks and Spencer, Arcadia Group, BhS Ltd, and Moss Bros Group are among the stores struggling to maintain their position. Meanwhile, the Dutch multiple chain C&A has admitted defeat and has now completely withdrawn from the British market. It is companies such as these, competing in the middle market, which are finding business so hard, since the market favors either value or premium brands. Those that are thriving include discount chains such as Matalan, Peacock's and Primark Stores, which are expanding rapidly and are predicted to increase their market share. With depressed demand and the prevalence of discounters, UK clothing retailing is expected to see modest growth in the near future. The market value is expected to reach $51 billion by 2005, an increase of 19% from 2000. MARKET OVERVIEW The main sectors in the market for clothing retailing are Outerwear, Underwear and Hosiery. Outerwear includes men's shirts, suits, jackets, smart trousers, coats, sweaters, T-shirts and jeans. Women's dresses, blouses and skirts also fall under this category. Underwear is made up of briefs and vests for men, womens lingerie - panties, corsetry, petticoats, teddies and camisoles. Hosiery covers men's, women's and children's socks, and women's pantyhose and stockings Expenditure on clothing, as well as having to compete with other durable and non-durable household goods, is threatened by increased expenditure on leisure, travel and financial services, including savings. Figures show that spending on clothing as a percentage of total household expenditure has dropped from 5.5 percent in 1995 to 4.4 percent in 2000. The popularity of heavy discounting stores is likely to be a factor in this decline. MARKET TRENDS A Diminishing Mid-Price Market The chain of C&A has been one of the casualties of an ongoing shrinking of the mid-price clothing market. Consumers are now tending towards the budget end of the market, which is targeted by companies such as Primark, Peacock's and Matalan, or the designer, premium-priced extreme. The mid-market has consequently become very competitive, with the struggles of Marks and Spencer, Arcadia Group and BhS to retain market share being well documented. Designer Outlets The first Designer Outlet centre opened in 1995. There are now several such centres that offer discounts of up to 50% on branded fashionwear, footwear, accessories, and housewares. Discount retailing is an important and growing part of several retail markets, and clothing is no exception. Gap, Tommy Hilfiger and Nike are among the names operating in these shopping `villages'. So called 'Off-Price' clothing is said to account for around 30% of the U.S. clothing market. Although it is still a relatively immature part of the UK market, it is expected to grow rapidly as both established and new retailers (e.g. Marks and Spencer and Matalan) plan to set up discount stores and enter the shopping villages. Informality Modern lifestyles, on the whole, have become much less formal, a trend reflected in clothing. While some places of work may maintain a strict dress code, they are fewer and further between — especially in the information technology industry. Many offices have a policy of `dress down Friday' where it is quite acceptable, indeed expected, to dress casually. This attitude extends into social life. Certainly some clubs and restaurants insist on a formal dress code, but many more think it unnecessary. A prime example of this movement toward informality is the huge resurgence in the denim market. UK sales of denim clothing in 2000 shot up by 8% on the previous year to reach $1.3 billion. Sportswear Participation in sports has increased over the long term, and there is a high level of branding in sports clothes. A particular feature of the sports clothing sector is its acceptability as leisurewear, whether or not any participation in sport is intended. With the growing trend towards informality, the sportswear market is set to grow. This is evident on the UK High St with the entrance of U.S. chains such as Footlocker. Brand Extension In the fiercely competitive UK retail market, the extension of an established brand name into other products has become common practice. This trend is becoming more popular in the clothing industry. For example, Oasis Stores PLC has developed an own-brand toiletries range, launched in October 1999. Meanwhile, designer Tommy Hilfiger has introduced new fragrances targeted at young adults. Other clothes chains with cosmetics, skincare or fragrance ranges include Ted Baker, French Connection Retail Ltd and Karen Millen Ltd. This kind of brand extension is continuing as more and more retailers are following the trend in an effort to compete with each other and offer their customers a complete product range. High street retailer H & M (Hennes and Mauritz) have recently launched a range of cosmetics and cosmetic accessories. Technology in Textiles Before the 1940s, clothes were made of wool, silk or cotton. The 1950s saw the introduction of synthetic fibres that would revolutionise the industry. Elastane microfibres, such as Lycra and Tactel, combine the qualities of stretch and control while being comfortable, durable and easy to care for. Manufacturers now claim to produce fabrics with other characteristics, such as anti-bacterial or moisturising properties, even cellulite-reducing hosiery. As a result of these changes in textile technology, prices are likely to increase, therefore assisting in growing the value of the market. Awareness of Fashion Marks and Spencer, BhS, and Mothercare have lost market share in the children's clothing market to Woolworths, ASDA Group Ltd and Next. Young people are becoming more fashion conscious at a younger age, and shun the somewhat conservative and old-fashioned image of traditional shops. This is in favour of those with a more trendy image, such as Gap, Next and Miss Selfridge. Similarly, older, and often affluent, consumers remain fashion conscious. The product offering for those older consumers wanting to appear in tune with fashion, has improved in recent years. Previously it was almost non-existent, especially at the cheaper end of the market. Larger Sizes Research has shown that British women are now taller, and more curvaceous, than in the past. This trend has been confirmed by bra manufacturer, Triumph, which has found that the average bra size has grown from a 34B to a 36C in less than a decade. Accordingly, Marks and Spencer, for one, is to use a UK size 14 (US size 10) rather than UK size 12 (US size 8) as its base model. Size 14 bust, waist and hip measurements have also been increased. With 62 percent of women in the UK wearing a UK size 14 (U.S. size 10) or larger, there are undoubtedly opportunities for growth in the larger size clothing market. IMPORTS An estimated two-thirds of the value of the UK clothing market is imported, a percentage that is increasing as more countries with low-cost labour join the supply chain. Traditional sources, primarily Hong Kong and India, are now facing competition from countries such as Morocco and Romania. There is, however, some variation across the product sectors. Germany, Italy and Hong Kong are principal sources of women's, girls' and children's jackets. Men's suits and jackets come primarily from Italy and Portugal. Hong Kong is a significant source of imports of both men's and women's overcoats and raincoats, although in the case of men's coats, the Netherlands is the most important. Hong Kong is by far the most significant exporter of men and women's trousers to the UK, and of women's dresses and skirts. Many British companies are transferring production overseas. Much of the recent growth in value of imports into the UK can therefore be attributed to British companies, and their subsidiaries. The UK imported over $81 million worth of clothing from the U.S. in 2000, a figure which has declined over the last few years. UK imports of U.S. clothing goods 1997 $81,621,996 $81,139,559 $103,448,033 $121,300,429 EXPORTS Total clothing exports from the UK were $1.8 billion in 1999 – a drop from the 1998 figure of $2 billion. In 2000, the UK exported $2.3 million worth of clothing to the U.S. There has been a recent trend towards exporting more British clothing to countries outside Europe, but less to countries within the European Union (EU). The UK has a reputation for quality in, for example, woollens and knitwear. However, it has been hard hit by the strength of sterling and the recent downturn in economies such as Japan, which are of great importance to UK trade. COMPETITION The Marketplace Vertical integration is a feature of the UK market for clothing. Companies such as Alexon Group, Laura Ashley, River Island Clothing Co., and Austin Reed Group manufacture collections for retail in their own stores. Place of Purchase In order of popularity, department stores, chain stores, independents, fashion multiples and sports shops are the most commonly used retail outlets for clothing. Age and sex are important determining factors in this however. For example, although department stores appeal to all age groups, fashion multiples are generally used by younger shoppers. For all the above outlets, penetration levels are higher among men than women except for independents and sports stores. Traditional mail order catalogues continue to come under pressure from discount stores. They cannot keep up with changes in prices, as their catalogues are printed weeks in advance of a season. The internet and digital television have introduced online shopping but there are hurdles to overcome if this kind of purchasing is to grow the clothing market considerably. Many consumers are hesitant to give credit card details and they like to be able to see and feel garments before they purchase. Brand recognition is important in online shopping, and it, therefore, seems likely that established High St stores may find it easier to make the step from 'brick to click' than a new online only retailer. Brand Awareness There is a high level of brand awareness in some sectors of the clothing industry. For example, the name Levi-Strauss & Co. is synonymous with jeans, like that of Nike with sports clothing. These brands will maintain sales due to firm establishment in their specific markets. However, with more and more discount stores introducing their own labels (e.g. George at Asda, and Matalan), and the consumers decreasing clothing expenditure, mid market retailers will undoubtedly suffer. As mentioned previously, strong brand names are increasingly moving outside their original product. While this might ensure the success of, for example, Ted Baker skincare products, it also opens the clothing market for infiltration by outside brands. Market Leaders and their Brands The UK retail market for clothing is one spanning many extremes. Exclusive designer names are at one end of the scale, while discount stores and market stalls are at the other. In between is a variety of retailers aimed at the middle mass market. It is some of these that are currently finding survival so difficult. C&A is a prime example, but its demise obviously provides opportunities for other stores and products. This is not least because its withdrawal from the UK is freeing up valuable High Street sites. A relatively new entrant to the market is the grocery multiple, and the most successful example is ASDA Group Ltd. The UK's third largest supermarket, taken over by Wal-Mart Stores Incorporated last year, has its own George at ASDA brand of clothing (which had a turnover of $893m in 1999). Tesco PLC, the country's most successful supermarket chain, also devotes significant space to children's clothing, and women's and men's underwear. END USERS The total population of the UK is approximately 60 million, and is split roughly equally beween men and women. By age, the population is divided as follows: AGE % 0-19 25.4 20-49 42.3 49 + 32.3 Over 83 percent of clothing and accessories are purchased by women over 25. Even 28 percent of menswear purchased in the UK is bought by women. According to the Family Expenditure survery (FES), average weekly household expenditure on commodities and services was $520 in 1999. On average, $32 of this was spent on clothing - this amounts to just over 6% of total expenditure. Although expenditure on clothing, both male and female, has grown in the past ten years, attitudes of consumers have changed. The proportion of spending on clothing that people regard as essential has declined. In 1989, conspicuous consumption was at its height and people were far more concerned with keeping up with the latest fashions. By the end of the recession in 1994, attitudes had changed and fashion had much less of a following - people still care about their appearance, but not to the same extent. This declining regard for fashion is apparent in all socio-economic groups. It is, however, more pronounced in the upper income brackets and the 25-34 and 35-44 age groups. Within these groups, people now view a holiday or products for the home as a priority over new/fashionable clothing. Despite the decline in regard for fashion, the desire to be fashionable still exists and is generally higher among teens, low income households, and the unemployed - hence the success of the discount retailers. MARKET ACCESS The UK clothing industry is an aggressively competitive marketplace, and is dominated by a handful of powerful chains. It has lower productivity than leading European competitors, and opportunities exist, therefore, for low-cost foreign competitors. The UK clothing market has to be instant in its response to changes in fashion in order for spending on clothing to compete with expenditure on other personal and household goods, leisure activities and savings. The market needs to accurately interpret trends so as to avoid surplus stock having to be sold cheaply. Rail upon rail of discounted clothes not only eats into any profit margin, but also damages the image of a shop, giving it a somewhat desperate look. There is one legal requirement regarding the labeling of textiles for clothing. The label must bear an accurate description of the fiber content. This is an obligatory marking requirement. Washing instructions and the size of garment are optional information, but must not be false or misleading. This would result in a breach of the UK Trade Descriptions Act. There are no requirements for a "Keep Away from Fire" label on any childrens daywear (but there is for all nightwear). However, there must be a flammability label on all babywear 0-3 months (day and night wear). This also applies to babywear with a chest size of 21 inches or less. There is no EU Directive on flammability labels on clothing. Clothing falls under the harmonized code of 61.01 – 62.17 and there is currently a maximum duty of 12.6% payable. SALES PROSPECTS Clothing is an essential requisite, although consumers can also be tempted to purchase on impulse. Nowadays, few people have the necessary dressmaking and knitting skills to make their own clothing, so nearly all clothing is bought. Unusual garments and colour combinations, can differentiate one product offering from another and may be the determining factor in remaining competitive. The exit of C&A from UK retailing in 2001 has made prime High Street sites available for other chains and product offerings. In addition to this, the removal of tariffs and quotas protecting foreign markets (under the Multi Fibre Arrangement) in 2005, will increase opportunities for overseas companies. However, overseas competitors should be aware of the increased emphasis on design that differentiates British product makes it less vulnerable to cheaper foreign competition. Opportunties for U.S. manufactured goods exist, as they are more likely to be able to compete with British designed product. Men's lifestyle magazines are helping to increase interest in men's and boys' fashion and men are more interested in fashion than they were ten years ago. Women are more financially dependent and able to spend as they like on their wardrobe, and as the proportion of working women increases, they are likely to require more clothes than they would if they stayed at home. However, as mentioned previously, the trend towards dressing down is increasing, therefore clothing purchased for the office will not necessarily include business suits. Home shopping through catalogues, the Internet, and interactive television means that goods, including clothing, can be bought at any time of the day, 7 days a week. However, people will always prefer to see the clothing and feel fabrics and textiles before purchasing so it is unlikely that home shopping will seriously threaten the High Street retailers. CONCLUSION The UK clothing market will see steady but modest growth over the next few years and is expected to reach $51. billion by 2005, an increase of 19% from 2000. Judging by current trends and evidence, it appears that the majority of this growth will come from the success of discount retailers. The diminishing mid market in fashion retailing means that best opportunities for U.S. companies exist at this end of the scale. For more information on the UK Clothing Market, please contact: 瞎找的 看都没看

《更衣记》双重美学品格论析 1942年，张爱玲在英文杂志《二十世纪》月刊上发表了散文《Chinese Life and Fashions》，后重写成中文，名为《更衣记》，刊于1943年12月的《古今》上，1945年收入散文集《流言》中，全文五千余字，记录了中国时装三百年来的变化。厚重的民族文化积淀及独特的生活阅历赋于张爱玲散文一股强烈而独特的文化气息，古典的民族文化精神与西方现代意识的双重渗透，使《更衣记》具备了双重美学品格。对中国传统文化精神与西方文化人文精神的深切把握与扬弃，使张爱玲的服饰美学思想充满了浓厚的文化内涵。 1、对东西方文化人文精神的深切领悟赋予了张爱玲的服饰美学思想以双重美学品格。 东西方文化的冲突是现代作家共同面临的课题，东方文化与西方文化的冲突是传统与现代的冲突，对此深切的领悟赋予了张爱玲作品以双重美学品格。“现代西方的时装，不必要的点缀品未尝不花样多端，但是都有个目的——把眼睛的蓝色发扬光大起来，补助不发达的胸部，使人看上去高些或矮些，集中注意力在腰肢上，消灭臀部过度的曲线……古中国衣衫上的点缀品却是完全无意义的，若说它是纯粹装饰性质的罢，为什么连鞋底上也满布着繁缛的图案呢？”“我们的时装不是一种有计划有组织的实业，不比在巴黎，几个规模宏大的时装公司如Lelonn' s Schiaparelli' s,垄断一切，影响及整个白种人的世界。我们的裁缝却是没主张的。公众的幻想往往不谋而合，产生一种不可思议的洪流。裁缝只有追随的份儿。因为这缘故，中国的时装更可以作民意的代表。”①兼用东西方两种文化视点，而能一语中的，这使张爱玲的服饰美学思想显示出更令人信服的文化内涵。 儒家的伦理道德观念对中国古代服饰的发展和变化影响极深。就其文化内涵而言，儒家思想中的“礼”的观念已渗透到穿衣戴帽的许多细节中，尤其是上层社会，无论是“君子”还是贵妇的服饰，无一不受这种观念的支配，而忠孝思想对服饰的影响更为显著。张爱玲对此观察与体会得相当敏锐。 “出门时裤子上罩的裙子，其规律化更为彻底。通常都是黑色，逢着喜庆年节，太太穿红的，姨太太穿粉红。寡妇系黑裙，可是丈夫过世多年之后，如有公婆在堂，她可以穿湖色或雪青。裙上的细褶是女人的仪态最严格的试验。家教好的姑娘，莲步姗姗，百褶裙虽不至于纹丝不动，也只限于最轻微的摇颤。不惯穿裙的小家碧玉走起路来便予人以惊风骇浪的印象。更为苛刻的是新娘的红裙，裙腰垂下一条条半寸来宽的飘带，带端系着铃。行动时只许有一点隐约的叮当，像远山上宝塔上的风铃。” 这些服饰上的规矩与民俗文化息息相关，是中国古代服饰的独特风貌，对清代仕女服饰至民初服装文化颇有参考价值，张爱玲的散文的确可以称得上是风俗录。 在《更衣记》中，张爱玲本着对人性的兴趣，和对民族性和风俗民情的特殊了解，从谈服饰入手，来表现中国人的普遍性格: “削肩，细腰，平胸，薄而小的标准美女在这一层层衣衫的重压下失踪了。她的本身是不存在的，不过是一个衣架子罢了。中国人不赞成太触目的女人。”“这里聚集了无数小小的有趣之点，这样不停地另生枝节，放姿，不讲理，在不相干的事物上浪费了精力，正是中国闲阶级一贯的态度。惟有世上最清闲的国家里最闲的人，方才能够领略到这些细节的妙处。” 与其说张爱玲在谈服饰不如说她谈的是中国人的民族性。在《更衣记》中我们也能感受到张爱玲浓厚的追求“个性化”的服饰情结，或者也可以说，这是张爱玲在此文中有意无意中所做的一个“文眼”: 目前中国人的西装，固然是谨严而黯淡，遵守西洋绅士的成规，即使中装也长年地在灰色、咖啡色、深青里面打滚，质地与图案也极单调。男子的生活比女子自由得多，然而单凭这一件不自由，我就不愿意做一个男子。 有一次我在电车上看见一个年轻人，也许是学生，也许是店伙，用米色绿方格的兔子呢制了太紧的袍，脚上穿着女式红绿条纹短袜，嘴里衔着别致的描花假象牙烟斗，烟斗里并没有烟。他吮了一会，拿下来把它一截截拆开了，又装上去，再送到嘴里吮，面上颇有得色。乍看觉得可笑，然而为什么不呢，如果他喜欢？……秋凉的薄暮，小菜场上收了摊子，满地的鱼腥和青白色的芦粟的皮与渣。一个小孩骑了自行车冲过来，卖弄本领，大叫一声，放松了扶手，摇摆着，轻倩地掠过。在这一刹那，满街的人都充满了不可理喻的景仰之心。人生最可爱的当儿便在那一撒手罢了？ 追求服饰的自由，追求一种“无所顾忌”的自在人生，这在张爱玲的许多散文中都有体现。受过东西方文化浸染的张爱玲在其服饰美学思想中体现的这种双重美学品格也让我们看到了一个“本色”的张爱玲。 2、发掘隐伏在细节事件背后的理性晶体，给读者展开一片思想的家园。 张爱玲既有独特、敏锐的感性观察力，又有独特、清醒的理性。她的散文差不多成了智慧的凝聚与发现，充满近乎神秘的哲思意味，闪烁着理性的波光。她总能在读者面前展开一片思想的家园，但这又不是有意为之，这些知性沉思是性灵之河的流淌中不时露出的一些理性的石子。在《更衣记》中张爱玲对服饰的存在形态进行深邃的哲学思考，它赋予人的已不再是情感的震撼，而是理智的启迪。 这吓人的衣服与下面的一捻柳腰完全不相称，头重脚轻，无均衡的性质正象征了那个时代。 时装的日新月异并不一定表现活泼的精神与新颖的思想。恰巧相反。它可以代表呆滞；由于其他活动范围内的失败，所有的创造力都流入衣服的区域里去。在政治混乱期间，人们没有能力改良他们的生活情形。他们只能够创造他们贴身的环境——那就是衣服。我们各人住在各人的衣服里。 这种衣领根本不可恕。可是它象征了十年前那种理智化的淫逸的空气——直挺挺的衣领远远隔开了女神似的头与下面的丰柔的肉身。这儿有讽刺，有绝望后的狂笑。 张爱玲对人对事看得太透太入骨，说起话来掷地有声，不留余地她能超越具象化的描写，自然地发掘隐伏在细节事件背后的理性晶体，给读者展开一片思想的家园，使读者获得智慧的顿悟与提升。她让读者对兼具形象描摹与启人心智功能的文章化境有了更深层的理解，这也是她所有散文的一种审美趋向。可以说，张爱玲的某些散文已成为人类知性和个人经验的结晶，她那种对人类、民俗等析理奥妙的探寻常使作品流露出某种只可意会不可言传的意味。“人生最可爱的当儿便在那一撒手罢？”一句轻轻的话语便诠释了她的美学观念，又使其散文超越了题材上的通俗和凡常，显露出其析理深度，给人以警醒和启示。 3、机敏、富丽地设色用词，兼具“机警、幽默、感伤、讽刺”的特点。 《更衣记》的语言风格同张爱玲大部分散文一样，感觉丰盈，浮想联翩，韵味盎然，机敏、富丽地设色用词，深具民族风味，同时也吸收了英国小品文机智幽默的特点。张爱玲被公认为是语言炼金师，一个个绝妙的譬喻，常令人赞叹不已。 回忆这东西若是有气味的话，那就是樟脑的香，甜而稳妥，像记得分明的快乐，甜而怅惘，像忘却了的忧愁。 中国女人的紧身背心的功用实在奇妙——衣服再紧些，衣服底下的肉体也还不是写实派的作风，看上去不大象个女人而象一缕诗魂。 女人的衣服往常是和珠宝一般，没有年纪的，随时可以变卖，然而在民国的当铺里不复受欢迎了，因为过了时就一文不值。 这些轻松随便灰谐风趣的句子，这些绝妙的比喻，在张爱玲散文中随处可见，突现了张爱玲散文语言“机警、幽默、感伤、讽刺”②的特点。 张爱玲还喜欢套用现成的诗句、俗语、谚语，并认为是中国人语言中重要的纤维。“衣服似乎是不足挂齿的小事。刘备说过这样的话:‘兄弟如手足，妻子如衣服，’可是如果女人能够做到“丈夫如衣服”的地步，就很不容易。”“在中国，自古以来女人的代名词是‘三绺梳头，两截穿衣’。”这些民族色彩浓厚的语句，被张爱玲信手拈来，运用得恰到好处。正如余彬所说:“她的散文显然比她的小说更来得从容不迫，挥洒自如。她的散文则往往可以做到起落无迹，‘行于所当行，止所当止'。”“其隽永的讽刺，尖新的造语，顾盼生姿的行文，使其文章显得分外妖娆俊俏。气盛言宜，她的文章议论风生，神采飞扬，从头到尾，一气呵成，毫无阻滞。正是傅雷赞叹的，是‘色彩鲜明，收得住，泼得出的文章。’”③ 《更衣记》中还运用了大量的色彩语言词汇，如“中国十九世纪的‘昭君套’却是颠狂冶艳的，——一顶瓜皮帽，帽沿围上一圈皮，帽顶缀着极大的红绒球，脑后垂着两根粉红缎带，带端缀着一对金印，动辄相击作声。”映现在读者眼前的全是这类鲜活的服饰描写，张爱玲善用色彩描写的原因在于她的女性气质，对世俗生活的热爱和她所受的良好的美术教育，所以运用色彩描写成了张爱玲表情达意的重要手段。 “生命是一袭华美的袍，爬满了蚤子。”《天才梦》的结尾句把生命之乐和生命之悲同时惊现于人们面前，给沉浸于现代文明中的人们以震撼。同样，“人生最可爱的当儿便在那一撒手罢？”《更衣记》中这一句似乎不经意的“文眼”，也道出了张爱玲古典美学思想中的一种现代的文明意识。张爱玲散文中的这种双重美学品格，在中国现当代散文随笔中，都堪称典范。 [1]来风仪编.张爱玲散文全编[M].浙江文艺出版社，1992. [2]周芬伶.《艳异-一张爱玲与中国文学》[M].中国华侨出版社，2003. [3]余彬.张爱玲传.[M].海南出版社，1993.

《谈音乐》，《苦竹》第1期，1944年11月，收入《流言》。 五年前编订《张爱玲集·流言》（2006年10月北京十月文艺出版社初版），查考张爱玲第一部散文集《流言》（1944年12月上海五洲书报社发行）所收二十九篇作品的出处，只有《谈画》和《雨伞下》一长一短两篇不明最初发表于什么刊物。“张学”已如此发达，这个遗憾却一直延续至今。 疑问终于在日前得到了部分解答。南京大学肖进博士查明，原来精彩的《谈画》初刊1944年7月《淮海月刊》7月革新版。据《淮海月刊》版权页所示，该刊由“淮海编译社”编辑，在沦陷区徐州和南京发行。 这期《淮海月刊》7月革新版其实是文学专号，也即“革新”成文学杂志。除了张爱玲的《谈画》，还刊登了胡兰成的散文《记南京》和《言之丑也》、路易士的《诗三章》（《十二三》、《夜曲》和《梦回的视觉与听觉》）、沈启无的《纪行诗——断片》、林微（误印作徽）音的小说《酒后》、傅彦长的散文《谈牛羊狗猫》等等，他们都是在沦陷区活跃的作家。也因此，笔者怀疑这期革新版实为胡氏所编，因为只有胡氏能拿到张爱玲的大作，否则，张爱玲怎么会把《谈画》交给远离上海又在文坛毫无影响的《淮海月刊》发表？ 胡氏《记南京》一篇，若不因人废言，平心而论，写得真不错。不过，这不是本文所拟讨论的。本文要论述并强调的是，《记南京》中引录了张爱玲的一则集外文！为了证明南京虽有“小街小巷”却没有上海的“弄堂房子”，两个城市情调完全不同，“上海的雨是人间的雨，南京的雨可是原始的”，《记南京》中突然插入了如下一段话： 张爱玲把《毛毛雨》译成英文，加以说明道： “我喜欢《毛毛雨》，因为它的简单的力量近于民歌，却又不是民歌——现代都市里的人来唱民歌是不自然，不对的。这里的一种特殊的空气是弄堂里的爱：下着雨，灰色水门汀的弄堂房子，小玻璃窗，微微发出气味的什物；女孩从小襟里撕下印花绸布条来扎头发，代替缎带，走到弄堂口的小吃食店去买根冰棒来吮着……加在这阴郁龌龊的一切之上，有一种传统的，扭捏的东方美。多看两眼，你会觉得它像一块玉一般地完整的。” 这段话原本是不分段的，为醒目计，笔者把引号里的张爱玲的原话单列一段了。其中，有两处特别值得注意。一是张爱玲在1944年间把歌曲《毛毛雨》译成了英文，她为什么英译《毛毛雨》？译文后来发表了吗？发表在哪里？一系列的问题，有待进一步查考。 二是张爱玲翻译《毛毛雨》时，为这首歌曲写下了一则说明，《记南京》文中所引当为这则说明的全文。文字、意境都是张爱玲式的，凡熟悉张爱玲作品风格的，都不会否认这则说明的主人就是张爱玲吧？这则说明完全应该视作张爱玲的集外文，暂且题之为《说〈毛毛雨〉》。 《毛毛雨》是什么歌曲，长期以来不是被斥为1930年代“靡靡之音”的代表作吗？先把《毛毛雨》歌词照录如下： 毛毛雨，下个不停；微微风，吹个不停；微风细雨柳青青，哎哟哟，柳青青。小亲亲，不要你的金；小亲亲，不要你的银；奴奴呀，只要你的心，哎哟哟，你的心。 毛毛雨，不要尽为难；微微风，不要尽麻烦；雨打风吹行路难，哎哟哟，行路难。年轻的郎，太阳刚出山；年轻的姐，荷花刚展瓣；莫等花残日落山，哎哟哟，日落山。 毛毛雨，打湿了尘埃；微微风，吹冷了情怀；雨息风停你要来，哎哟哟，你要来。心难耐等等也不来，意难捱再等也不来；又不忍埋怨我的爱，哎哟哟，我的爱。 毛毛雨，打得我泪满腮；微微风，吹得我不敢把头抬；狂风暴雨怎么安排，哎哟哟，怎么安排，莫不是生了病和灾？猛抬头，走进我的好人来，哎哟哟，好人来。 这分明是一首情歌，热烈缠绵、情真意切的情歌，结尾柳暗花明，回肠荡气。歌词之质朴流畅，琅琅上口，确实带有浓郁的民歌色彩。 《毛毛雨》出自大名鼎鼎的现代音乐家黎锦晖（1891-1967）之手，一般认为创作于1927年。但据1927年7月16日《申报》刊《聆曲记》（壁人作）报道，“是夜，有李璎女士唱新曲，共唱三出，即《毛毛雨》、《寒衣曲》、《可怜的秋香》。歌声悠扬，婉转动听。”应可断定，最迟在1927年7月初，黎锦晖就已完成了《毛毛雨》。次年1月，百代、大中华唱片公司录制了黎锦晖之女黎明晖演唱的《毛毛雨》，此曲从此风靡一时。 黎锦晖是五四新文化运动的产儿。他致力于统一国语、编写新国语课本、编辑中国第一份儿童杂志《小朋友》和推广全国统一的教育标准等业绩，都可圈可点。黎锦晖更大的贡献是对中国现代音乐的推动，大致有四个方面：一、创办中国第一所培养歌舞人才的学校——中华歌舞专门学校，后又创办明月歌舞剧社；二、创作《麻雀与小孩》、《葡萄仙子》、《小小画家》等多部儿童歌舞剧，大力提倡儿童音乐教育；三、为中国早期电影谱写大量词曲均甚优美的插曲；四、以《毛毛雨》、《妹妹！我爱你！》和《桃花江》等为代表，成为中国现代都市流行歌曲创作第一人，正如美国学者安德鲁·琼斯所指出的：“黎锦晖在现代中国流行音乐史上是位巨匠级人物”，他“创造出既合乎现代又纯属中国的新音乐语汇”。 然而，黎锦晖对中国现代流行音乐的贡献长期以来被大大低估了，不但当时受到左翼音乐界的猛烈批评，后来音乐史家的评价也不高，《毛毛雨》更被斥为“黄色歌曲”的代名词。当然，也有看重《毛毛雨》的，如“小亲亲，不要你的金；小亲亲，不要你的银；奴奴呀，只要你的心”这段歌句，就被教育家陶行知选入他所编写的《老少通千字课》中。 应该指出，鲁迅对《毛毛雨》也有所保留，但并没有全盘否定。他1934年11月1日致青年诗人窦隐夫函谈到中国新诗“没有节调，没有韵，它唱不来”时，笔锋一转，说“许多人也唱《毛毛雨》，但这是因为黎锦晖唱了的缘故，大家在唱黎锦晖所唱，并非唱新诗本身”。可见鲁迅一方面承认《毛毛雨》歌词的通俗性和可唱性，另一方面又指出《毛毛雨》的流行并非新诗的胜利，而只是黎锦晖个人的成功。一年以后，鲁迅在有名的《阿金》中，又把《毛毛雨》的歌声比喻为“绞死猫似的”，可见厌恶之程度，但这是针对一些表演者嗲声嗲气、矫揉造作演唱的批评，与上述评论并不矛盾。 对各种各样的批评，黎锦晖有过回应。他并不承认《毛毛雨》等是“黄色歌曲”，恰恰相反，他认为自己是尝试以大众化的情歌代替当时都市茶楼酒肆中的“粉色小曲”，才从事流行爱情歌曲的创作。他在1965年8月所作的《我和明月社》中回忆说： （1927年）我开始把大众音乐中的一部分民歌、曲艺和戏曲中过分猥亵的辞藻除去，用外国爱情歌曲的词意和古代爱情诗词写出了比较含蓄的爱情歌曲，如用旧的音乐形式写成的《毛毛雨》，新的音乐形式写成的《妹妹我爱你》、《落花流水》、《人面桃花》这类适合小市民口味的东西。当时还没有“黄色歌曲”的称谓，归入流行歌曲之内。虽然这些东西当时没有出版，但“歌专”的学生已经唱得很熟了。 黎锦晖的自我辩护是值得注意的。令人欣慰的是，近年来《毛毛雨》已得到了重新评估，《民国音乐史年谱（1912-1949）》称1927年“黎锦晖创作迎合市民口味的家庭歌曲《毛毛雨》、《妹妹我爱你》，并开始流行”，这是比较客观、公正的。 虽然张爱玲说过“我不大喜欢音乐。不知为什么，颜色和气味常常使我快乐，而一切的音乐都是悲哀的”，但她还是写下了《谈音乐》这篇颇为有趣的文章。此文末尾特别说到“中国的流行歌曲”。张爱玲认为，1940年代以前的流行歌曲，“因为大家有‘小妹妹’狂，歌星都把喉咙逼得尖而扁，无线电扩音机里的《桃花江》（这首歌正是黎锦晖的作品——笔者注）听上去只是‘价啊价，听价价叽价啊价……’外国人常常骇异地问中国女人的声音怎么是这样的”。她对当时流行歌曲唱法的批评，倒与鲁迅的观点有点不谋而合。张爱玲承认这种情形“现在好多了”，但还是提醒“中国的流行歌到底还是没有底子，仿佛是决定了新时代应当有新的歌，硬给凑了出来的”。 不过，《毛毛雨》显然不在此例。因为张爱玲把《毛毛雨》译成了英文，因为她明确表示“我喜欢《毛毛雨》”。在这则《说〈毛毛雨〉》中，张爱玲没有讨论《毛毛雨》如何演唱的问题。她说得很清楚，之所以喜欢《毛毛雨》，是在于它的清新自然，在于“它的简单的力量近于民歌，却又不是民歌”。也就是说《毛毛雨》是黎锦晖这样的音乐家从“民歌”中吸收、提炼、改编，然后创作而成的，属于适合现代都市市民口味的确确实实的“新的歌”，并不是硬凑出来的。张爱玲又借题发挥，巧妙地把《毛毛雨》与上海才有的弄堂文化相勾连，三言两笔，就呈现出一种令人惆怅的上海弄堂雨景，渲染了“弄堂里的爱”，并且上升到“传统的，扭捏的东方美”的高度。没有在上海大小弄堂里生活过的人，恐怕是难以领会这种海上情调和独特意境的。 张爱玲对来自民间的各种各类艺术作品一直十分推崇，无论配色鲜艳的土布，还是气息健旺的年画，等等，概莫能外。张爱玲文章中不止一次提到“民间艺术”这个词，对民间艺术独有会心，她对歌曲《毛毛雨》的肯定，理应从这个角度去进一步认识和探讨。 从确认《谈画》最初出处到发掘《说〈毛毛雨〉》，对张爱玲研究文献学而言，《淮海月刊》的出现不可谓意义不大。但短短仅一百五十余字的《雨伞下》依然来历不明，期待有水落石出的一天。