華文現代主義的旅行與變貌： 以上海、香港、南洋為路徑（1930～1970）

本論文關注二十世紀三〇年代至七〇年代，華文現代主義文學於華文文學圈中的流動與變貌，意圖在已有的「西方/日本/中國」現代性地圖中，加入「南洋」與「香港」的位置。相對於西方和日本這些明顯的他者，南洋與香港是曖昧的領域，這些地區雖然不受中國政權所控制，但僑居其中的大量僑民與資源，卻不斷吸引當權者將之籠絡到「中國」之中。這些域外之地也成為中國文人接觸「現代」的通道，先是晚清以降大量中國知識精英經由香港與南洋抵達西方，許多人甚至就此滯留在當地。後1949年流離的中國文人以香港為中轉站，除了台灣之外，另一個受歡迎的避難地則是英殖民地新馬。中文現代性隨著這些中國知識精英肉身的流亡各地，形成各異的樣貌。華文現代主義的旅行因而並未停止在中國，南洋與香港不但很早便參與了中國現代派的文學計劃，爾後又在彼此交流間演化出各自的樣貌。三地文人來往的狀況、外來與本土的辯證、現代主義在華文社群的不同發展，都是本文關注的焦點。本論文第一章緒論，確立問題意識並進行文獻回顧。第二章開始討論現代主義的「中國/南洋」之路，此部分討論的重點是位於上海的暨南大學，以及聚集在其中的南洋僑生社群。上海暨南大學是二〇年代中國唯一以華僑為招生目標的學校，成立之初便明確表示要以西方和日本殖民活動為典範，借南洋僑生之力前進南洋。然而在暨南大學的僑生也不是單向地接受這些論述，他們在暨南大學成立社團並創辦雜誌，參與上海各樣藝文活動之餘，也宣言要「創造南洋文學」。歸返祖國的僑生在上海反而發現了自身，時間上和馬來亞作家第一次對「南洋文藝」的自我發現幾乎同步。中國與南洋借助彼此定位自身，在文學裡完成民族國家的共同體想像。此部分將以黑嬰作為討論個案。出身於印尼的黑嬰在上海留學期間寫下大量新感覺派作品，後期卻忽然轉向革命寫實主義。他因而展現出上海的南洋僑生在「中國與南洋」和「現代與寫實」的兩重矛盾，一方面試圖以新感覺手法融入上海與中國人身份中，另一方面又受到革命話語和南洋經驗的牽制。在南來北返之間，南洋一方面參與了上海現代主義的建構，另一方面也從中萌動了最初的自我意識。第三章則針對現代派的南下，探究現代主義在「上海/香港/南洋」之間的往復，劉以鬯的經歷正是這類南來文人的典型。劉以鬯在上海出生長大，早年與新感覺派文人過從甚密，1948年後他在南洋與香港之間輾轉流離，最後才落腳香港，開始他後半生的文學工作。劉以鬯的南洋與上海經驗無可避免地滲透到他的現代主義寫作裡。在他後來的香港小說中，南洋被浪漫化為懷舊的想像，用以逼現出南來文人對香港的思考。另一方面，面對擁有中心地位的上海，劉以鬯也並非單純地排斥或擁護。藉由轉化上海新感覺派擅長的「視覺化書寫」，劉以鬯在接納上海影響的同時，又將之化為建構香港主體的方式。以劉以鬯為例，我將說明五〇年代現代主義者如何面對自身的流動，以及「本土」認同的複雜糾葛。第四章則討論1955年以降，現代主義在「香港/南洋」之間的旅行。新馬與香港同為英殖民地，加上冷戰與美援的助力，兩地文人的互動越加頻密。不同於劉以鬯回返香港的選擇，一部分南來文人到新馬之後便定居於當地，而本文關注的重心是香港與新馬「友聯社」及其旗下的《蕉風》雜誌。在香港南來文人黃崖主持下，《蕉風》一邊經由港台翻譯輾轉引入西方現代主義文本，一邊強調本土的文學實踐，形成新馬現代主義最初的風貌。弔詭的是，黃崖雖然是新馬現代主義的重要推手，但他對現代主義的破壞性經常感到不安，其作品也大多為通俗取向。在黃崖的理解中，現代、通俗與反共並行不悖，因而呈現出另一種現代主義向度。

關鍵字

華文現代主義；上海新感覺派；暨南大學；黑嬰；劉以鬯；黃崖；香港認同；《蕉風》

並列摘要

This thesis focuses on the flows and changes of Chinese modernism literature in Sinophone community from the 1930s to the 1970s, while emphasising the influences of "South Seas" and "Hong Kong" in Chinese modernity. For China, the South Seas and Hong Kong are ambiguous territory compared to the obvious Others of the West and Japan. Although these areas were not under the control of the Chinese regime, the large population of overseas Chinese and its abundant resources continued to attract the Chinese authorities to include them in "China". In the other hands, these foreign lands also served as a gateway to modernity for Chinese literati. Since the late Qing, Chinese elites departed to the West via Hong Kong and the South Seas, many of whom even remained in there. After the communist party took over China in 1949, many Chinese literati fled to take refuge in Hong Kong and Malaya, both British colonies at the time, further strengthen the cultural connection between these three places.Through the travels of Chinese literati, not only did Nanyang and Hong Kong participate in the literary project of Chinese modernism from an early stage, they also evolved their own unique forms in the process.This thesis examine the cultural activities occurred between Shang Hai, Hong Kong and the Nanyang, the debate between foreign and local, and the different form of modernism in the Sinophone literary community. The first part of this thesis discusses the "Chinese/Nanyang" path of modernism. The focus of this section is on Jinan University in Shanghai(上海暨南大學) and the Nanyang student community gathered around there. in the 1920s, Jinan University was the only academic institutions in China targeting overseas Chinese, and was founded with the explicit intention of using Western and Japanese colonial activities as a model to “colonize” the South Seas. However, overseas Chinese students at Jinan University did not accept these statements unilaterally. They have actively participated in a variety of artistic and literary activities in Shanghai, while declaring their mission to "create the Nanyang’s literature", establishing an early form of imaginative community during this period. In this section, the case of Hei Ying will be discussed. Born in Indonesia, Hei Ying wrote a great deal of neo-sensationalist works while studying in Shanghai, but suddenly transformed his style into realism at a later stage. I argues that this sudden change in writing style reflected the struggles of his conflicting identity, providing us a glimpse of the minds of overseas Chinese students in Shang Hai. The second part focuses on the southward movement of the Modernists, exploring the back and forth between "Shanghai/Hong Kong/Nanyang" and the experience of Liu Yi Chang, who is typical of such literati community. Born and raised in Shanghai, Liu spent his early years in close contact with the neo-sensation literati. After 1948, he travelled between the South Seas and Hong Kong before finally settling in Hong Kong, establishing his literary work for the rest of his life. Liu's Nanyang and Shanghai experiences inevitably permeated his modernist writings in his later works. In his novels about Hong Kong, the South Seas and Shang Hai often romanticized as nostalgic imagery, forcing him and his fellow literati to reflect about their situation in Hong Kong. By transforming the "visual writing" that the Shanghai neo-sensationalists excelled in, Liu embraced Shanghai's influence while at the same time transforming it into a way of constructing the Hong Kong identity. Using Liu as an example, I will illustrate how the modernists of the 1950s confronted their own mobility and the complex entanglements of "local" identity. The third section discusses the journey of modernism between "Hong Kong/Nanyang" from 1955 and onwards. Malaya and Hong Kong were both British colonies, and with the help of the Cold War and American aid, the interaction between the literati of the two places became more and more frequent. Unlike Liu Yi Chang's choice to return to Hong Kong, some of the southern literati settled in Malaya after arriving there. This article thus focuses on “Chao Foon”(《蕉風》), one of the most influential magazine published by the “Union”(友聯社)，an organisation jointly formed by members from Hong Kong and Malaya. “Chao Foon” and its chief editor, Huang Ya, has successfully introduced Western modernism into Chinese Malaya literature through the translations of Hong Kong and Taiwan. However, although Huang Ya was an important promoter of Modernism, he often felt uneasy about the destructive nature of Modernism. This contradictory understanding of modernism influenced Malaysian Chinese literature throughout the 1960s, presenting another different form of Chinese modernism.