冷戰視閾中的港、臺現代主義「故事新編」小說

Abstract

二十世紀中期現代派文學的發展在臺灣與香港的文學史中都扮演了相當關鍵角色，因此現代派美學與批評的發展也成為兩地文藝發展程度的判準。西方現代主義美學在臺灣與香港的發展，與美國的文藝援助政策、港英政府和臺灣的國民黨政府有相當密切的關聯。

然而，這個互相糾纏的關係至今仍未獲得系統性的探討，目前的既有研究大多集中在單一個案、作品或議題之上。本論文將探索現代派文藝中的一個重要次文類「故事新編」，除了探討現代性之中時間性的辯證關係以外，也嘗試從中展示現代主義美學的典律化歷程。「故事新編」是一種改編既有敘事的文類，除了可以作為一種現代主義美學中的「創造性破壞」的例示之外，冷戰作家亦可藉此諷諭當代、重啟既有文本的可能性，並創造一種得以定錨當前、推想未來的現世寓言。

本文首先會分析臺港兩地具有影響力的現代主義作家與評論在冷戰情境下的文學場域位置，並將重點放在這些人與故事新編文類之間的關聯。其後，本文會剖析此一文類的生產是如何在舶來的西方文藝美學、當前文藝政策與市場之間斡旋，而這些條件又如何影響作家的創作歷程。本文最終嘗試描一幅臺港的現代主義場域圖像，觀看匯集在此一關鍵年代的作家與作品群，如何面對一個夾纏於新與舊、自由與限制之間的世界。

The development of modernist literature (Xiandaipai) has been regarded as a crucial turning point to the literary history of Taiwan and Hong Kong; and the degree of canonization of modernist aesthetic criticisms and pure literature have been used to judge the extent of literary modernization. The whole process of reception and localization of western modernist aesthetics in Taiwan and Hong Kong during the 1950s and 60s is closely related to the US-aided cultural policy, the British government of Hong Kong, and the KMT government in Taiwan.

However, this entangled triangular relation that made possible the development of modernism has yet been thoroughly and systematically investigated, as the existing scholarship often focuses on case studies of individual authors, works or issues. This dissertation would like to explore a significant subgenre of modernism, "story retelling" (Gushi Xinbian), to illustrate the dialectical temporality in modernity and the canonization of modernist aesthetics. A genre of adaptation from a preexisting narrative, hence an operation of "creative destruction", story retelling was a means for cold war writers in Taiwan and Hong Kong to reflect the epoch, re-initiate the potentials inherent in classical texts, and create a modern allegory that indexes the present and speculates the future.

This dissertation would first provide a systematic analysis of literary activity by influential modernist authors and critics, with a special emphasis on their associations to the story retelling genre. It then investigates how the genetic production negotiates between the imported western intellectual tradition, contemporary cultural policy and the market, and how these factors influence writers' creative trajectory. Finally, it would present a picture of the modernist literary field in Taiwan and Hong Kong, a constellation of inspiring writers and works held between the world of novelty and obsolescence, freedom and constraint.