《残留》中霞玲的“牲人”命运

上海的现代化促使新感觉派产生，刘呐鸥举起新感觉派的大旗，将目光锁定在都市的人文风景上，都市的人文风景与都市特有的拜金文化紧密联系着。近代都会所产的“现代尤物”们在刘呐鸥所领导的新感觉派文人的笔下诠释着上海奇特的文化特征，新感觉派小说与中国式“赤裸生命”密不可分。
本文使用阿甘本教授提出的“赤裸生命”理论及“牲人”理论分析来刘呐鸥笔下的霞玲这一人物，霞玲的普遍性与特殊性使得本文对她的分析具有概括性与典型性的双重意义。本文从霞玲的思想与行为两方面的转变来具体分析，从而得出霞玲即为事实意义上的“赤裸生命”这一结论，进而分析出中国社会中霞玲式“赤裸生命”的状态，即失去灵魂与人权，成为任由外部力量左右而不能自主的“牲人”。最终将霞玲式“赤裸生命”与中国式“赤裸生命”划上等号，总结出中国式“赤裸生命”的含义和特点。

关键词：都市文化；赤裸生命；霞玲
On the Chinese Way of “Bare Life”- An Analysis of Xia Ling in Widow
Abstract: Modernization of Shanghai promoted the production of New Sensation Novel, which is the foundation of analysis of Chinese way of "Bare Life". Under this circumstance, Liu Na’ou, the representative writer of New Sensation, focused on the special modern literature especially money worship in his novels. In his writing, women of extraordinary beauty as products of modern city showed the special cultural phenomenon on of modern city in Shanghai. What's more, these women are the absolute leading characters in works of New Sensation Novel. New Sensation Novel and the Chinese way of “Bare Life” are inseparable.
At the same time, "Bare Life" theory and "Homo Sacer" theory proposed by Professor Agamben are used to analyze Xia Ling. The poor lady, who is created by Liu Na’ou as the protagonist in his novel Widow. With a detailed analysis of Xia Ling’s thought and behavior, especially the two aspects of her transformation, we can found that Xia Ling is the actual image of "Bare Life", and a thorough analysis of this type of "Bare Life" as Xia Ling is made, which has actually lost its soul and human right. In other words, these “Bare Lives” in society could be called “Sacrificing People” without autonomy, which just could be manipulated by external forces. This type of “Bare Life” just represents the Chinese way of “Bare Life ". With all these analyses, this paper finally explores the meaning and features of the Chinese way of "Bare Life".

Keywords: Urban culture; Bare Life; Xia Ling
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