“集纳”空间与“马凡陀山歌”的生成
The Journalism Field and the Formation of Ma Fantuo’s Folk Song

摘要 抗战胜利前后，“马凡陀山歌”在国统区的风行，是一个非常独特的文化现象。诗人袁水拍(马凡陀)的“山歌”写作虽然调动很多民间资源，但“山歌”实际上是一种“城歌”，生成于重庆、上海两地大小报纸构成的“集纳”空间中。一方面，“山歌”以报纸为媒介，不仅取材于报上的各种社论、新闻，还在各种素材的组织、剪接中，发展出一种“集纳性”的感受力，内在联通了鲁迅1930年代开创的“杂文的诗学”；另一方面，“山歌”诙谐的风格又吻合于“小报”、“晚报”的定位，与报纸上的各类杂感、游戏文字以及漫画形成跨文体、跨媒介的互动，呈现了历史转折时期矛盾纠结的社会情绪。在“集纳”空间中探讨“山歌”的生成，可以为理解1940年代新诗形式及社会功能的重造，提供一个新的视角。
Abstract：In the mid 1940s， Ma Fantuo’s Folk Song was an unique cultural phenomena in KMT-controlled areas. Although the poet Yuan Shuaipai(Ma Fantuo) used many kinds of folk resources， his “Folk Song” was actually a kind of “Urban Song”，which produced in the journalism field of Chongqing and Shanghai. On one hand， the “Folk Song” used the newspaper as a media， whose materials came from all kinds of news， editorials， and developed a kind of journalism sensibility by organizing and editing all kinds of materials， inherently connecting the “poetics of essay” created by Lu Xun in 1930s. On the other hand， the funny style of the “Folk Song” was in accordance with the orientation of tabloid and evening newspaper，forming cross-style and cross-media interation with skits， burlesques and caricature in newspaper， reflecting the social ambivalence at the turn of a historical period. In a word，discussing the formation of Ma Fantuo’s Folk Song in journalism field provides a new perspective to understand the rebuild of the new poetry’s form and function in 1940s.