【作者】 黄劲辉；

【导师】 黄万华；

【作者基本信息】 山东大学 ， 中国现当代文学， 2012， 博士

【摘要】 20世纪中国现代主义文学源于1920年代末的上海,战后同源分流,1940年代末以后兴盛于香港地区与台湾地区,1980年代随着先锋派作家出现,汇流大陆。华文现代主义川流不息,从未间断。刘以鬯(1918-)是传承上海现代主义与五四精神到香港最重要的人物,1949年南来香港,身兼作家与编辑双重身份,多年来在商业社会坚持现代主义艺术的创作与推广,扶持也斯(1949—)、西西(1938-)等下一代香港作家现代主义的发展。1985年刘以鬯发起创办并总编《香港文学》杂志,发起世界华文作家联会,以香港特殊的政经空间连接大陆与海外华文为己任,是华文文化传承的重要基石。本文在战后中国文学转型,以及港台海外华文文学与20世纪中国文学密切联系的背景上,考察刘以鬯七十余年的写作生涯,尤其是1949年南来香港以后,上海记忆梦萦于字里行间,构成两座城市文化交缠的美学。本文研究重点是通过现代小说家刘以鬯及其作品,梳理上海到香港在文化上与美学上传承与转化的关系,有助补遗20世纪中国现代主义文学全面的发展脉络。论文首章为导论,重新整理刘以鬯文学与现代主义及评估其研究价值。第章分为两部份,前部份重新检视历史,梳理20世纪中国现代主义文学自上海诞生到分流香港地区与台湾地区的过程,并探讨刘以鬯在这个转型过程中扮演的角色,后部份整理过往刘以鬯作品评论与研究。经本人收集、梳理、统计,历来大陆、港台与新马有关刘以鬯作品评论文章超过四百篇,另有不少外文书写的评论,包括英文、法文与日文,刘以鬯研究已逐渐发展成为一门学问。本论文在研究角度上寻求突破,打破过往港台澳文学研究与20世纪中国文学之间的隔阂。将刘以鬯作品研究置入20世纪中国现代主义文学发展框架,整体性分析其文化与美学的传承与转化。第二章及第三章从较宏观角度讨论刘以鬯作品整体的文化与美学特色。第二章分析刘以鬯与上海新感觉派和五四新文学关系,本文发现刘以鬯在文字风格与文学形式受到上海新感觉派成员刘呐鸥(1905-40)与穆时英(1912-40)影响颇深,在民族立场上却有分歧,刘以鬯能够将现代手法技巧与民族自主立场自然融和。他跟施蛰存(1905-2003)在民族观点上较接近,追求华文现代主义与世界同步。刘以鬯亦受到五四新文学鲁迅等的内省精神启发,作品往往对时代与社会辛辣批判,兼具个人反思。第三章论及刘以鬯的城市迁移经验与文学作品具有不可分割的关系,尤其关注过去没有评论提及刘以鬯以新马为题小说的第一手资料。输文思考城市迁移对华文现代主义在文字、风格、美学上的影响,体验到战後中国文学多中心新局面发展的文化多元性。第四章至第六章以分析刘以鬯的文本为主,探寻现代主义纵向传承与横向发展的关系。前者指源自上海至香港的文化传承,后者指西方现代主义美学在华文文化中的横向影响。第四章探讨刘以鬯的心理小说,分为两部份。前部份尝试寻求一种科学而客观的方法,剖析《酒徒》与上海新感觉派及西方意识流小说关系。通过文本内语言模式的归纳与比较,发现《酒徒》运用六种语言叙事模式,其中有来自乔伊斯《尤利西斯》(Ulysses,1922)及穆时英的启发。刘以鬯《酒徒》的贡献是有意建立一套崭新的华文语言系统,描写意识流不同程度的心理层次,同时《酒徒》内省精神可以追溯到鲁迅《狂人日记》(1918),可见《酒徒》在文化上和美学上有纵向与横向的传承与转化关系。通过同时代港台意识流小说比较分析,揭示《酒徒》在华文意识流小说中的重要价值。后部份讨论《酒徒》以后,刘以鬯发展了两种心理描写手法,一种是混合深层与表层心理的书写手法,另一种是纯粹表层心理的书写手法。电影视觉文化与城市生活文化出现,构成20世纪中国文学的重要特色,刘以鬯作品同样兼具这两种特色。第五章尝试以“城市图像”的概念阐释刘以鬯文本内各种城市时空演绎法与跨媒体经验(来自电影视觉、听觉经验与蒙太奇节奏)。刘以鬯对城市图像的探索,在上海新感觉派等视觉描写基础上发展,他主要受到法国新小说派代表人物罗伯格里耶(Alain Robbe-Grillet,1922-2008)横向的启发,从电影汲取崭新手法捕捉香港的城市经验,当中以《对倒》(1972)成就最高。第五章从米兰.昆德拉(Milan Kundera,1929-)与李维斯陀(L6vi-Strauss, Claude,1908-)所启悟的“音乐结构”(composition)概念,分析《对倒》与王家卫电影《花样年华》(2000)的跨媒体影响。刘以鬯启发王家卫拍摄名作《花样年华》,该片获康城最佳导演殊荣。本章透过“音乐结构”剖析意义的方法,整理出刘以鬯如何从电影媒体汲取描写城市的手法,文学手法又如何启发电影,表现20世纪华文现代主义文学的文化多元与跨媒体互涉复杂现象。刘以鬯有一系列故事重编小说向来备受评论关注,以往研究方法多遵循“故事新编”概念,着重文本内版本比较,很容易忽略文本外因素,尤其是香港这种多元文化的商业城市因素。第六章以“现代复修"代替“故事新编”的说法。“现代复修”概念,来自历史古迹遗址复修的现代建筑方法与可持续发展的环境保育观念。”现代复修”有利于将文本内的关系(新旧符号的和谐与张力)与文本外的关系(经济、文化、社区环境)作整体分析,对刘以鬯在财经或商业报刊连载的故事重编小说,尤其是中篇小说《寺内》(1964)那种雅俗共赏、新旧文字符号并存的作品,得到更精准有效的分析。“现代复修”作为一种历史意义与文化价值的观念,亦有助评估刘以鬯个人的上海记忆在香港城市现代化的特色。刘以鬯写作时间超逾七十年,作品数量极多,部份坊间失传。本论文在第一手资料发掘上有突破,例如中篇小说《龙女》(1952)、《第二春》(1952)、《星嘉坡故事》(1957)、《梦街》(1958)等,都是过去几乎没有评论过的作品。另外新近重新整理出版的旧作,例如《热带风雨》(2010),《甘榜》(2010)、《吧女》(2011)等,对本论文研究在新资料上也有很大支持。本人多次专访刘以鬯及其夫人罗佩云,他们在资料上提供了宝贵的一手材料。总体而言,本论文较全面整体地梳理刘以鬯作品从上海到香港之间文化与美学的纵向传承与横向发展,为补遗20世纪中国现代主义文学全面的发展脉络有所贡献。更多还原

【Abstract】 Chinese literary modernism emerged in the1920s’Shanghai. After the1940s, Hong Kong and Taiwan literature continued to develop modernism with their distinct characters. In the1980s, with the emergence of Avant-garde literature, literary modernism reappeared in China’s mainland. As a whole, Chinese literary modernism has been continuously developed in the20th century. Hong Kong writer Liu Yichang (1918-) inherits both the tradition of Shanghai modernism and May Fourth Literature. He came to Hong Kong in1949, worked as writer and editor. While working in a commercial society, he still insisted in writing and promoting modern literature. With his encouragement and insistence, he helped to bring up important Hong Kong modern writers like Yesi (1949) and Xixi (1938). In1985, Liu Yichang started to work as Editor-in-Chief of Hong Kong Literary magazine. The magazine serves as an important connection between mainland Chinese writers and overseas Chinese writers which is an foundation for developing Chinese literature. With the background of post-war Chinese literature, this thesis studies Liu Yichang’s over70years of literary career. The thesis pays special attention to post-1949Hong Kong when Shanghai became a memory in Liu Yichang’s stories. This thesis also aims to map out the cultural and aesthetic connection between Shanghai and Hong Kong, so as to draw a clearer picture of20th century Chinese modern literature."Introduction" studies the works of Liu Yichang from the perspective of literary modernism. Chapter One consists of two sections. The first section deals with historical review on how literary modernism traveled from Shanghai to Hong Kong and Taiwan. This section also studies the position of Liu Yichang in this process. The second section focuses on the literary review on the study of Liu Yichang. There are more than400Chinese articles about the writer. Apart from this, there are also many criticisms written in foreign languages. The study of Liu Yichang itself could be a discipline. This thesis provides a new perspective by studying Hong Kong literature in the connection with20th century Chinese modern literature. Chapter Two and Chapter Three discuss Liu Yichang’s works from a broader perspective. Chapter Two studies the relationship of Liu Yichang with Shanghai New Sensationalism and May Fourth Literature. One of the important findings of the thesis is that Liu Yichang has great influence from the Shanghai New Sensationalism though their national attitude was different. In his stories, Liu Yichang blended modern literary technique with nationalism. Furthermore, Liu Yichang has great influence from May Fourth novelist, for example Lu Xun’s reflective attitude towards society and individual. Chapter Three studies how urban mobility influences Liu Yichang. The thesis focuses on the period when Liu Yichang worked in Malaysia and Singapore from1952-57, which has not been studied previously.Chapter Four to Chapter Six focus on analyzing Liu Yichang’s works from the perspective of modern literature. Chapter Four studies the psychological novels of Liu Yichang. The first section discusses The Drunkard and its relationship with May Fourth Literature and stream-of-consciousness novels. This study has pointed out six types of narration in The Drunkard. Both James Joyce and Mu Shiying have influenced the narration of The Drunkard. Furthermore, the self-reflective narration of The Drunkard could also be traced back to Lu Xun’s "A Madman’s Dairy". This section also compares The Drunkard with other stream-of-conciousness novel of the same time, so as to highlight the importance of Liu Yichang’s novel aesthetically. The latter section of this chapter studies the "deep layer" psychological narration and "surface layer" psychological narration.Urban culture and visual culture are two important elements in the20th century Chinese literature. We could find these two elements in Liu Yichang’s stories. Chapter Five studies the "urban image" in Liu Yichang’s novels. Based on the experiment of Shanghai New Sensationalism, and with the influence of French New Novel and cinema culture in Hong Kong, Liu Yichang succeeded in creating his own visual image in literature. His renowned novel, Intersection, is a good example of this experiment. Chapter Five studies the relationship between Liu Yichang’s Intersection and Wong Kar Wai’s In the Mood for Love from the perspective of composition. The composition has inspired writers like Milan Kundera and Levi-Srauss Claude. This chapter discusses how Liu Yichang absolves cinematic technique and on the other hand, how Liu Yichang’s novel inspires movie director. The inter-relationship between literature and media is an important topic for20th century modern literature.Liu Yichang has a series of stories on re-writing classical literature or folklores. Previous studies focus on the textual analysis between the old and the new stories. This thesis differs from the previous study by paying full attention to the cultural context in which the new stories were written. This perspective is important for the study of literature in a commercial city like Hong Kong. Chapter Six discusses Liu Yichang’s literature from the point of view of "modern conservation". The chapter discusses how Liu Yichang’s "new" stories were written in the context of Hong Kong culture. In this works, he tried to balance the art and the commercial, which could be illustrated by his work "Inside the Temple"."Modern Conservation" is a concept embedded with historical and cultural values. It will help to us to understand the characteristics of Liu Yichang’s Hong Kong portrait with the memory of Shanghai.Liu Yichang has been continuing writing for over70years. Some of his works could not be located now. This thesis has dig out a lot of first hand information, for example novella like Dragon Girl (1952), The Second Spring (1952), Singapore Stories (1957) and Dream Street (1958). These novellas have not been discussed before. Furthermore, Liu Yichang has published some old works recently, for example Tropical Weather (2010), Peuh Village (2010) and Bar Girl (2011). These works have seldom been discussed before. I have conducted several interviews with Mr. and Mrs. Liu Yichang. They are generous in providing me some first hand information. In conclusion, this thesis studies the relationship between Shanghai and Hong Kong literature from cultural and aesthetic perspective. This thesis aims to enrich and extend the study of the20th century modern literature.更多还原