同時,這個憂鬱的結尾也闡明了文學本身的力量,這種力量對美國的軍事介入和小說的刪改進行了反抗。在對王同志(應是「顧同志」—譯者注)的描述中,我們注意到了整個小說里唯一的新媒體技術:電影攝影機,這個細節很重要。然而從小說開端起,張愛玲就把它描寫成向政府妥協的裝置。顧同志記得村民那些事兒的真相,可他盯著手中的攝影機,開始思量國家對電影產業的管理,並得出結論:「現在不必再詛咒黑暗了,應當歌頌光明了!」[27](1998,91)儘管電影攝影機有生動、「真實」的視覺表現功能,它卻對準確反映現實產生了消極的影響。這一場景隱含著這樣一層意思,那就是以《秧歌》為代表的文學本身能夠暴露出共產中國的真相。不管美國國務院怎樣操控,小說在很大程度上是成功的。在小說結尾,雖然像是用布蒙著,可我們還是聽到了張愛玲的聲音。而作為文本本身,小說塑造了一個生動的50年代的中國全景。 這個憂鬱而充滿希望的雙重結論強調了我論文的主要論點:文化中介者對太平洋地區的冷戰策略很重要,這點在小說和寫小說的作者身上都得到了反映。這段歷史與調動美國文學,如《醜陋的美國人》來為「國內」的宣傳服務有些不同。它與通過向東歐傳播經典的、提倡民主的美國文學,將該地區猶豫不決的公民爭取過來完成民主事業的情形也不一樣[34][32][35](Rubin2012;Ekbladh 2010,178-80; Vegso 2012,190-97)。太平洋地區所面臨的是異乎尋常的陌生、難懂的對手,是毛澤東時代的中國,這個地區需要的是更為靈活的方法。有關太平洋地區的知識和信息不僅要被美國文化吸收進來,簡單包裝一下,繼而散發出去;它更需要進行調解,沒有其他媒體比文學更能做好這個調解工作。亞洲作家因此被臨時徵用來完成這項工作。 我想再透過一個鏡頭觀看張愛玲的作品,用我自己憂鬱的筆調對它進行詮釋,以此來結束我的文章。在我讀像《秧歌》這樣的文本時,一般說來我把它當作冷戰早期國際信息管理中的一個規模更大的進程和事件,我還發現為努力參與這一過程所留下的後遺症。在這個後遺症中,我看到了辛勤的汗水、悲傷的眼淚和所承受的壓力。作為中國移民為美國情報總署工作,要在自己的祖國和移居國之間做出選擇,對張愛玲而言無論是身體上還是情感上都是困難的。我們只能猜想,這種選擇給張愛玲心理帶來的創傷。如果《秧歌》最後一個場面表現的是自己的聲音被壓制所造成的創傷,那可能是因為張愛玲明白她自己正在變成一種信息;在向中國的對手傳遞中國信息的過程中,她本人正在被工具化。 參考文獻 [1]Mark, Chi-Kwan. 2004. 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New York:Springer. [11]Rubin, Rob. 2001. The Making of the Cold War Enemy. Princeton, NJ: Princeton Univ. Press. [12]Goble, Mark. 2010. Beautiful Circuits. New York: Columbia Univ. Press. [13]Menke, Richard. 2008. Telegraphic Realism. Palo Alto, CA: Stanford Univ.Press. [14]Wollaeger, Mark. 2006. Modernism, Media, and Propaganda. Princeton, NJrinceton Univ. Press. [15]Sproule, J. Michael. 1997. Propaganda and Democracy. Cambridge, UK:Cambridge Univ. Press. [16]Tobia, Simona. 2008. Advertising America. Milano: LED. [17]Osgood, Kenneth. 2008. Total Cold War. Lawrence: Univ. of Kansas Press. [18]Davison, W. Phillips. 1950. 「The Role of the Propaganda Planner.」 Project Rand, Research Memorandum. August 29. Eisenhower Presidential Library and Museum, Archives. Abilene, Kansas. [19]Bogart, Leo. 1969. Premises for Propaganda. New York: Free Press. [20]Henderson, John. 1969. The United States Information Agency. New Yorkraeger Publishers. 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