冷戰格局下「面向南洋」的香港左派文藝刊物－以五六十年代的《鄉土》、《文藝世紀》為例

本文將討論五六十年代在香港出版的兩份由中共「僑委」資金支持的刊物：《鄉土》、《文藝世紀》。先分析在冷戰格局下，刊物「面向南洋」的定位對其面貌和內容之形成與改變所起的決定性影響，在此基礎上進而比較，這兩份同一資金來源的刊物，在銷售對象相同、作家群不時重疊，但總編輯不同的情況下，如何在不同時期因應不同的編輯方針，各自呈現怎樣不同的面貌，其中涉及編者在多方考慮下怎樣的位置和視野。最後本文想提出的是，香港「左派」作家群的文藝創作，在相當長的時間內（尤其是在五六十年代），其視野更根本在南洋而不在香港。香港只是一個出口和轉口站，而閱者今天能從刊物讀來的「香港元素」，當年更多是建構給「南洋」讀者看的結果。

關鍵字

冷戰；僑委；南洋；《鄉土》；《文藝世紀》

並列摘要

This paper presents a study of Xiangtu (literally, ＂Native Soil＂) and Wenyi Shiji (＂The Literature Century＂), two Hong Kong publications of the 50s and 60s funded by the Overseas Chinese Commission of the Chinese Communist Party. It analyzes their positioning in pivoting to Nanyang ＂the Southern Seas＂ (a place name, roughly corresponding to the Southeast Asia) during the Cold War period, as well as its determining influence on the formation and change of their features and content. The two publications had the same funding source and target customers, and their lineups of writers often overlapped. Further comparison reveals how they nonetheless varied at different times as a result of having different chief editors and editorial policies, which involved the varying stances and horizons on the part of the editors. The final part of this paper proposes that the ＂leftist＂ writers of Hong Kong came up with their literary creation that has been, for a relatively prolonged period of time (especially during the 50s and 60s), adopted with a downright vision of Southeast Asia, instead of a vision of Hong Kong-the city merely served as an export powerhouse and intermediary port. The ＂Hong Kong elements＂ acquired by the readers of today were once an outcome of a construction targeted for the Southeast Asian readers.