冷戰下的南來與新生：論劉以鬯的新編小說與《酒徒》的香港書寫及南洋經驗

劉以鬯出生於上海，其後遷居於香港、新加坡、馬來西亞等地；他的遷徙路徑，正好與冷戰時期港、台與新馬之間的報刊與文學交流軌跡相合。值得注意的是，以現代主義創作著稱的劉以鬯從1950至1990年代皆持續發表「故事新編」類小說，卻甚少人關注這些作品與其後現代主義美學之間的關聯。其中，最早具有現代主義文學表現的《酒徒》，並非憑空誕生；在稍早發表新編李白故事的現代小說〈捉月〉，就與《酒徒》有著內在呼應的結構與象徵。本研究主要觸及「新編小說」、「香港書寫」與「南洋跨界」三面向；分析劉以鬯的新編小說和《酒徒》之間的敘述形式轉換，追跡其在上海、香港與南洋跨地區的文化處境。以此發掘他的新編小說在文化傳承、文學革新與現實生活之間，相互形塑的狀態；最後，本文將提供一種視角，以觀察冷戰時期南來文人在香港書寫的在地歷時性變化。

關鍵字

冷戰期間；香港文學；故事新編；劉以鬯；《酒徒》

並列摘要

Liu Yichang was born in Shanghai and had lived in Hong Kong, Singapore, and Malaya respectively in his lifetime. His migration routes coincide with anti-communist Sinosphere, where newspapers, magazines, and literary works intensively circulate. It is worth noting that Liu, who is famous as a modernist writer, had created a series of "rewritten stories (Gushi Xinbian; classical Chinese narrative rewritten in the style of modern fiction)" from 1950s to 1980s, but little is discussed on their relation to his later modernist fictions. To be specifically, Liu's earliest articulation of his modernist aesthetics, The Drunkard, is not made out of nothing; in Liu's earlier narrative rendition of Li Bo's "Moon Catching (Zhuo Yue)" readers can observe similar narrative structure and motifs. This article investigates three aspects of Liu's writerly trajectories: rewritten stories, Hong Kong narrative, and transregional writings. By investigating his rewritten stories, it attempts to elucidate how Liu faces the transcultural condition in Shanghai, Hong Kong, and Nanyang region; and how the Sinitic cultural inheritance, western-influenced literary reformations, and his biographical incidents were interweaved together and shaped by each other. Finally, taking Liu as an instance, this article would suggest an alternative way to understand how the writing of exiled literati in Hong Kong was changing during the Cold War period.