留聲南洋——南來華人的聲音、風土與文化建構 (1895-1960)

Abstract

本研究主要考察19 世紀末以降，南來華人如何在傳統與現代交織的過渡期，透過「聲音」文化作為介入中國與南洋的民族主義建構的可能。本研究認為從晚清民初時期直到馬來亞獨立之前，這些「聲音」創作資源最初隨著文人知識分子南來而傳播至南洋，已經形成了一個南洋通俗文化建構過程中的參照來源。然而，當南洋的聲音文化不斷受到「南來」的中原聲音文化影響時，基於兩者對「風土」系統的認知出現了距離與差異，繼而促使「南來」創作在表述南洋華人的「身分認同」產生了變化。「聲音」媒介的感召能動性逐漸讓南洋華人建立起一個自我與他者文化認同的辨識框架，當中更牽涉了方言與國語、新舊文體傳播與接受之間的駁雜關係。對此，本研究首先以晚清詩界革命的文體革新運動為討論起點，接著以南洋漢詩、民國初年的方言謳歌（粵謳）、抗日時期的馬來亞愛國歌曲、五十年代的香港南來電影流行歌曲作為分析個案，試圖窺探晚清民初至馬來西亞獨立時期（1895-1960），前述南來「聲音」文化建構底下所表徵的政治、文學、文化的互動交流關係以及其形塑的歷史內涵。於此意義上，本研究嘗試透過「南來」創作與「本土」接收場域所開展的對話空間，勾勒出20 世紀上半葉南洋文化互動史更完整的圖象。

This thesis explores the popular culture interaction between mainland Chinese and the diasporic Chinese community in Nanyang during the 1890’s to the 1960’s. In such transition period between traditional and modern era, there’re series of popular literary works and songs which were written by a group of mainland Chinese writers who lived transnational life from Guang Dong, Hong Kong to British Malaya, showing the concern for the cultural norms of Nanyang. By using historical approach exploring the participation of sojourners and emigrants in the cultural production field of Nanyang, the research reveals the mobility of these minoritizing literary and musical works. Such strategy of Sinophone studies opens up a platform to unveil translingual practice of Chinese dialect and Malaya’s local language throughout the song lyric writing and singing-performing progress. It indicates the communication of multi-languages and music culture between mainland China and Nanyang. Also, it shows the hidden sophisticated process of local socio-cultural formation as well as identification of immigration society during Malaya’s nation building process. Hence, it would be necessary to examine the crossing of cultural and geographical boundaries of the popular literary and musical works in order to understand the conflicting logics as well as the links and parallels between the soundscape of mainland China and Nanyang.