왕안이(王安憶)의 장한가와 상하이 민족지

Abstract

This research begins from hypothesizing An-yi Wang(王安憶)’s most prominent work Changhenge(長恨歌) is an anthropological ethnography that documents Shanghai’s urban space through participant observation. In order to first examine the possibility of considering a literary work as an ethnography, the research looks into the role of imagination and the mechanism of fictionalization, followed by a review on literature anthropology. Then an overview on the genealogy of Shanghai literature and literary Shanghai was made. History of Shanghai literature is in fact a significant part of China’s modern and contemporary literary history, so much that it is difficult to consider it as an independent realm. On the other hand, ‘literary Shanghai,’ a term designating Shanghai found within the literature and also the literal text which represents Shanghai, is an approach similar to the notion of ‘Shanghai ethnography,’ which is why the research has reviewed several related texts. The research’s main section of ‘Changhange as a Shanghai ethnography’ looks into past results of relative studies and observes the living space from the novel, mainly longtang(弄堂), from a micro-historic point of view. In particular, in its first chapter the novel highlights shikumen(石庫門) and longtang through a distant description. Based on such detailed depiction, the research attempts to reconstruct how Shanghai’s longtang, houses and the streets have changed from 1940s through 1980s. Next the typical life and taste, as well as identity of Shanghai’s men and women were reviewed through Qi-yao Wang(王琪搖) and Mr. Cheng(程) who are the main characters of the novel. In addition, the essence of the character’s way of living this world is summarized as ‘emptiness and vainness’. Cultural thickness of Changhenge as a Shanghai ethnography is characterized as irony and introspection. As an ethnography of literature anthropology, the novel can be interpreted as the author’s astounding satire and sarcasm on Shanghai and on false consciousness of urbanites. There are no self grounds, no soul and no history. The way of living they believed to be wise is ‘empty and vain’. The ‘beauty’ they considered elegant and beautiful are full of secularity and commercialism. Such is a reflection of rootless European culture that were heteronomously transplanted, only revealing their ‘empty and vain’ life. Life of Qi-yao Wang, who enthusiastically performs the death she witnessed at the studio for 4 decades, is ‘emptiness and vainness’ itself. Thus the text is full of ironies. However, observer’s introspection is spotted throughout the text. At times it leads us away from monotonous everyday life towards deep thoughts and at times it prevents us from being lured by superficial phenomenon but look straight into the depths of being. Furthermore it results in a reflection on Shanghai and Shanghainese, or moreover the city and people living in it. In this context, Changhenge is a thick text full of irony and introspection.