在地、離散與現代性：從《顯影》僑刊媒介到金門現代文學起點的考察

Abstract

1992年金門與馬祖終獲解嚴，1993至1997年金門珠山首開先例推動社區總體營造計畫，因而促使《顯影》在2006年重刊。本論文透過媒介研究與文學史研究，以《顯影》為分析對象，藉此考察金門僑鄉的現代性，以及現代文學的起點，同時試圖釐清《顯影》有關在地鄉緣組織、離散僑居群體之間的文化實踐與文學生產情形。本文首先從歷史背景、刊物發展，聚焦於發刊於1928至1949年間的《顯影》，其主事者的身份與經歷，嘗試勾勒出1920至1940年代金門知識文化份子的面貌。接著，則是探討《顯影》的現代媒介功能及其社會參與，還有如何受到五四文化的「啟蒙」論述影響，致力於性別、體育、教育、實業改革與傳統風俗等議題，連帶推動在地社會的現代化。最後再以歷時性的視角，對《顯影》的文藝作品進行文本細讀，兼以探討珠山於1928至1936年間的文教活動與文學創作；並將1932年發生的「淡、寒文藝論戰」視為重要事件，指出其中的「文藝實用觀」，引導了「金門現代文學起點」的發展，據此劃分為1928至1932年的「白話嘗試期」，以及1932至1936年的「大眾文藝期」。前者旨在抒情言說，反映「戀曲」與「鄉愁」交織的個人主義、主觀主義文學風貌；後者轉向關注鄉土小人物，讓文學承載介入精神與教化意味，展現了現實主義的「文藝大眾化」訴求。大抵，綜合上述多元分析角度，進而呈現了《顯影》月刊之於金門文史的重要性。

The lifting of martial law in Quemoy and Matsu in 1992 prompted the "community development" in Jushan from 1993 to 1997, which eventually led to the republication of 'Shining' in 2006. This thesis draws on media studies and literary history to examine the early formation of vernacular modern literature in Quemoy by focusing on 'Shining'—a community journal produced by local diasporic actors in Southeast Asia between 1928 and 1949. It seeks to clarify how cultural practices and literary production emerged at the intersection of localized kinship structures and diasporic identities. The first part of the study provides a historical and institutional overview of 'Shining', reconstructing the sociocultural landscape of Quemoy’s intellectual communities in the 1920s–40s, by analyzing the identities and trajectories of the journal’s organizers, including writers and readers. The second part turns to the journal’s media function and its role in social participation, exploring how 'Shining' appropriated May Fourth Enlightenment discourse to advocate reform in gender norms, education, sports, industry, and folk customs—thereby contributing to broader projects of local modernization. Finally, through a diachronic reading of the journal’s literary texts from 1928 to 1936, the thesis identifies two distinct periods: the “Experimental Vernacular Phase” (1928–1932), marked by lyrical subjectivity and affective expressions of nostalgia and romance; and the “Popular Literature Phase” (1932–1936), which shifted toward realist narratives centered on ordinary rural lives. Special attention is given to the 1932 literary controversy between editors Dan(淡菊) and Han(寒冰), wherein competing visions of literature’s purpose—utilitarian populism versus elitist aestheticism—shaped the contours of Quemoy’s emergent modern literary consciousness. Through this multi-layered analysis, the study demonstrates the critical role 'Shining' played in the evolution of modern literature and local cultural politics in early twentieth-century Quemoy.