张恨水是民国时期具有代表性的通俗小说作家，本文借助布尔迪厄的文学场理论，通过对张恨水的通俗小说创作进行研究，结合文本分析、史料分析，论述张恨水通俗小说创作中的两项内在矛盾，并借助张恨水这一经典案例，管窥民国时期的通俗文学场在以新文学为主导的文学场中的地位变迁与运作状况。

张恨水进入文学场时，正值通俗文场学由母场滑落为子场，场象征资本大幅下降的关头。过重的家庭经济负担使得张恨水失去了通过大学而获得社会资本、文化资本的可能，也使张恨水进入通俗文学场成为了一种注定的结果。但张恨水扎实的古典文学基础、记者生涯积累的丰富人脉，也为张恨水在通俗文学场脱颖而出创造了可能。习性、资本就是这样在场域中左右、推进着张恨水的文学创作实践的。

通俗文学场的他律性强，指挥棒是读者。张恨水的创作既需要迎合读者，也需要适当地背离读者，以使自己的作品成为读者不可替代的选择。这是张恨水通俗小说创作的第一个内在矛盾。在解决了精益求精与供不应求的“供需”矛盾、追文逐雅与通俗易懂的“写法”矛盾和不造口孽与必造口孽的“内容”矛盾这三项具体矛盾之后，张恨水成功做到众口皆调，成为了民国时期的通俗小说大师。

张恨水通俗小说创作的第二个内在矛盾是，他的创作虽然能让他登上通俗文学场的巅峰，却无法使他的象征资本在文学母场更进一步。相较于文学母场中叱咤风云的新文学写作者，他虽然在文学母场也有一席之地，但却被母场框定为了附庸者。为此，张恨水通过自传书写等方式，为自己勾勒了受难的创新者的“先锋作家”形象。这一努力在当时收效有限，张恨水作为通俗文学创作者，在文学场依然象征资本不足。

《啼笑因缘》是张恨水的代表作，这一作品的走红，既是出版方与大众传媒的营销奇迹，也是作者主动调研读者需求后创造性写作的典范。面对《啼笑因缘》的走红，以新文学为代表的文学母场对这部作品及其走红事件提出了批评，这种批评打击了《啼笑因缘》的象征资本。通俗文学子场则从《啼笑因缘》的创作技法入手，试图张扬《啼笑因缘》的价值，但因通俗文学读者的失语性，这一努力收效甚微。张恨水通俗小说创作的两项内在矛盾，通过《啼笑因缘》事件这一个案，被更细致地展现了。

运用法国思想家布尔迪厄文学场的理论，对张恨水通俗小说创作的内在矛盾进行文学社会学的分析，这一尝试既为张恨水研究提供了一种新的可能，也为其他通俗文学研究提供了一种视角。对于通俗文学研究来说，当前的重中之重是立足于通俗文学本身、选取最适合通俗文学的研究方法，从而推动通俗文学的进一步发展，使正在新时代蓬勃发展的通俗文学越来越好。

Zhang Henshui is a representative popular novel writer during the age of Republic of China. Drawing on Bourdieu’s literary field theory and combined with text analysis and historical data analysis, this paper has analyzed two inherent contradictions in Zhang Henshui’s popular novel creation through the study of Zhang Henshui’s popular novel creation. We can also get a glimpse of the status change and the operation of the popular literary field in the head literary field dominated by New Literature during the period of Republic of China.

Zhang Henshui entered the literary field when the popular literature field fell from the head field to the branch field and the popular literature field’s symbolic capital dropped sharply. The heavy family financial burden made Zhang Henshui lose the opportunity of obtaining social capital and cultural capital by going to university, and made entering the popular literature field become a destined result for him. However, Zhang Henshui’s solid foundation in classical literature and well social relationship accumulated during his journalist career also created the possibility of standing out in the popular literature field for him. It is how the habitus and the capital influence and promote Zhang Henshui’s literary creation practice.

The popular literature field’s heteronomy is strong, and its baton is the readers. Zhang Henshui’s creation needs to not only cater to the readers but also depart appropriately from the readers, so that his novels would become the readers’ irreplaceable choice. This is one of the inherent contradictions in Zhang Henshui’s popular novel creation. Zhang Henshui succeeded in becoming a quite popular writer and a master of popular novel creation during the period of Republic of China after solving three specific contradictions: the “supply and demand” contradiction between “making perfection more perfect” and “demand exceeding supply”, the “writing style” contradiction between elegant style and easy-to-understand style, and the “content” contradiction between “avoiding speech karma” and “having to make speech karma”.

The other inherent contradiction in Zhang Henshui’s popular novel creation is that his creation cannot provide more symbolic capital for him in the head field of literature, although it can help him reach the summit of popular literary field. To solve this problem, Zhang Henshui used autobiography and other methods to outline the image of a suffering innovator as an avant-garde writer. This effort had limited results at that time. Zhang Henshui still lacked symbolic capital in the literary field as a popular novel writer.

The Fatal Irony is Zhang Henshui’s magnum opus. This book became popular not only in virtue of the marketing miracle of publishers and mass media, but also because that the author wrote the novel creatively after he investigated readers’ needs. The head literary field represented by New Literature criticized The Fatal Irony and the readers’ favor for this novel when this novel became popular. This kind of criticism hit the symbolic capital of The Fatal Irony. The branch popular literature field tried to promote the value of The Fatal Irony by praising the great writing skill of The Fatal Irony. However, this effort had little effect due to the aphasia of popular literature readers. The two inherent contradictions in Zhang Henshui's popular novel creation are demonstrated in more detail through the case of the " The Fatal Irony " incident.

The literary sociology attempt of analyzing the inherent contradictions in Zhang Henshui’s popular novel creation with the French thinker Bourdieu’s Literary Field Theory not only provides a new kind of possibility for the research for Zhang Henshui, but also gives an opportunity for other popular literature studies. The most important thing for popular literature study now is to base on the popular literature itself and to select the most suitable research methods for popular literature，so that the development of popular literature now can be better and better.