流動的詩學：以南洋舊體詩的詩紀與詩話為中心

Abstract

長期以來，南洋詩學傳統在中國文學史與詩學總集的主流敘事中處於邊陲位置。本論文將南洋舊體詩下的「詩話」與「詩紀」視為具主體性的文學實踐，重新界定其作為一種捕捉流寓詩人記憶、紀錄異域見聞、編織文人網絡的「詩學照相術」：不僅紀錄事實，更參與想像建構。本文並指出，在正規知識體系尚未建立的南洋，「詩話」與「詩紀」承擔起歷史補遺與文化自我定位的雙重功能。 本文以文本細讀與報刊史料為方法，選取張煜南、邱菽園、易君左與鄭子瑜為核心案例。第一部分以張煜南與邱菽園為主要觀察對象，探討早期在南洋的使節與文人如何透過詩話書寫與編撰，記錄地方知識、建構文化記憶。前者《海國公餘輯錄》體現出「天下一家」的詩學想像，後者則以「詩話三部曲」將私人思維轉化為公共論述，呈現媒介實踐與出版焦慮。 第二部分為易君左透過通信與徵集完成《華僑詩話》，在未曾踏足南洋的情況下構築「想像的南洋」。第三部分轉向在地文人鄭子瑜，探討其探討其在《詩論與詩紀》中如何詮釋黃遵憲與郁達夫，以南洋為起點重構詩學史的敘述重心。 本研究認為，南洋詩話兼具詩學批評與文化記錄的雙重價值，不僅反映華僑社會的知識流動與文化實踐，更可視為一種域外的詩學生成機制。透過釐清詩話在不同時空條件下的變異與實踐策略，本文嘗試為南洋詩學研究開啟新的對話可能。

The poetic tradition of Nanyang has long occupied a marginal position in the mainstream narratives of Chinese literary history and poetic anthologies. This study reconsiders shihua (poetic commentaries) and poetic records within Nanyang classical poetry as autonomous literary practices, redefining them as a kind of "poetic photography"—a medium that not only preserves the memories of diasporic poets and records encounters with foreign landscapes, but also participates in the imaginative construction of cultural meaning. In a region where formal knowledge systems remained nascent, these writings served the dual function of historical supplementation and cultural self-positioning. Using close reading and periodical-based archival research, this study focuses on four key figures: Tjong Yong Hian, Khoo Seok Wan, Yi Junzuo, and Zheng Ziyu. The first section examines Tjong Yong Hian and Khoo Seok Wan as early diplomats and literati in Nanyang, analyzing how their shihua writings documented local knowledge and constructed cultural memory. Tjong’s Haiguo Gongyu Jilu（海國公餘輯錄）embodies a poetic vision of "All Under Heaven as One," while Khoo’s Shihua Trilogy （詩話三部曲）transforms private reflection into public discourse, reflecting both media practice and the anxieties of print culture. Yi Junzuo, who compiled the Huaqiao Shihua （華僑詩話）through correspondence and solicitation, constructed an "imagined Nanyang" despite the compiler’s physical absence. Finally, the local intellectual Zheng Ziyu’s Shilun yu Shiji（詩論與詩紀）reinterprets figures such as Huang Zunxian and Yu Dafu, reorienting the axis of poetic historiography toward Nanyang and transforming the region from a peripheral site into a a site of epistemic production. This research demonstrates that Nanyang shihua possesses both poetic-critical and cultural-historiographical value. It reflects the intellectual circulation and cultural practices of diasporic Chinese communities while constituting a poetic mechanism of knowledge production. In tracing its historical mutations and strategies of practice, this thesis aims to open new dialogues in the study of Nanyang poetics.