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過客詩人的南洋色彩贅論-以康有為等為例

Superfluous Discourse on the Nanyang Local Color in the Writings of the Traveller-Poets: The Case of Kang Youwei

摘要


二次大戰後,東南亞那些中國人慣稱之為南洋的國家紛紛獨立為民族國家。在國族打造的過程中,在地文化理所當然的成為構造新國家認同的主導要素,而華人文化(尤其是華文與華語)被看成是負面的,妨礙新國族形成的成份。在這種情況下,華裔知識菁英、政客、寫作者都有不愛國的焦慮,都急於緊抓本地元素以表達他們自己的認同,並創造出對應於民族國家的華文文學,如馬華文學。那些在地元素,多為斯地的地方色彩、地方景致、事件,後來更被強化為「書寫此時此地的現實」這樣帶著政治意識的馬華現實主義綱領。 作為五四文化運動的繼承者,那些知識份子、寫作者普遍接受了新文學的意識型態,並不接受於十九世紀末、二十世紀初出現於該地的舊文學,那些作者多為中國過境官員、文人、外文官,甚至政治流亡者如康有為。 本文以康有為的南洋詩為焦點,那些詩寫於他從新加坡到丹將敦、檳城,被慈禧太后的手下追捕、接受英殖民政府的保護期間。康的南洋詩表達了他對光緒生死安危、帝國傾覆的憂心,同伴犧牲的悲愴,及自己的此時此地的現實。那借來的時間與借來的空間裡,在其詩的空間中,南洋風光(那雲、水、花、月,天風與海濤)也承載著閒適與快意。 但這些成就或許在大部份馬華新詩之上的舊詩,是很難被新加坡或馬來西亞的華文文學接受的。因為康有為畢竟是過客,他來自中國,後來又回去了。因此這些南洋詩不免是文學史的贅瘤。

並列摘要


After the Second World War, countries in Southeast Asia--the region used to be called Nanyang by the Chinese-gained their independence from the colonial empires. In the process of nation-building, local culture was the dominant element in creating the new national identity, while Chinese culture (especially Chinese language and writing) was seen as a negative element in forming national unity. Under such a circumstance, Chinese intellectuals, politicians and writers were anxious to be accepted as patriots. They tried to be more localized, to grasp the local elements to represent themselves and to create a local Chinese national literature, e.g., Chinese Malaysian literature. Those elements, represented mostly as scenes of local color from local places, form the so-called reality of here and now (此時此地的現實) as well as Nanyang picture (南洋風光). Being successors of the May-Fourth cultural movement, these intellectuals and writers inherited the ideology of the vernacular New Literature, and they rejected the old writings that mostly written by the nineteenth century traveller-poets, late Qing civil officers, and diplomats such as Huang Zunxian, YangYin, and political exile like Kang Youwei. This article focuses on Kang Youwei's Nanyang Writings, the poems he wrote when he was a political exile, under the threat of arrest order from the Qing government. Living in a borrowed time and a borrowed place, he moved from Singapore, Tanjun Tuan, to Pulau Pinang, protected by the British government. Kang's Nanyang poetry represents his emotion and expresses his worry for Emperor Guangxu, the empire's corruption, his comrades' sacrifice, and his own reality of here and now. Meanwhile, the scenes of Nanyang expresses the innerscape of his poetry: the cloud, the tree, the sea, as well as the wind and the billows (天風與海濤); they expressed his sense of leisure and comfort in a life of anxiety. Such poems, in fact, attain higher literary quality than most Mahua new poetry, but they have hardly being accepted as Chinese Malaysian or Singaporean literature because Kang came from China and returned to China eventually. Under the category of nation-state and the ideology of New Literature, Kang's literary endeavor becomes superfluous.

參考文獻


黃錦樹(2006)。馬華文學與(國家)民族主義。中外文學。34(8),177-192。
汤家村
方修(1987)。戰後馬華文學史初稿。吉隆坡:董總。
王力堅(1997)。馳域之之觀 寫心上之語-論黃遵憲的南洋詩。廣東社會科學。4,115-120。
丘逢甲(2001)。丘逢甲集。長沙:岳麓書社。

被引用紀錄


林立(2017)。亦詩亦史:描述新加坡日佔時期的舊體詩集《血海》清華學報47(3),547-589。https://doi.org/10.6503%2fTHJCS.2017.47(3).04

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