宣言力量的弱化──文化產業視閾下劉以鬯〈酒徒〉的連載與結集單行比較

The Weakened Power of Declaration: Comparison between Serialized Version and Compiled Version of Liu Yi Chang’s The Drunkard under the Perspective of Cultural Industries

香港五、六○年代的連載小說是一個重要的文化生產資源，既可以結集出版，也可以成為電影的改編劇本，故此在出版業及電影業中，屬重要的前置文本。 劉以鬯的〈酒徒〉屬當時一部另闢蹊徑的大膽之作。作者自稱〈酒徒〉是一部「娛己」不「娛人」的作品，小說中醉漢對報業、出版業和電影業的批評言論，所表達的個人文藝觀，可視作劉氏面對當時香港商業與娛樂的現實生活反映。這部 1963 年逾十萬字的《星島晚報‧星晚》連載，同年由香港海濱圖書公司結集出版。《酒徒》的研究熱潮， 自 1970 年代至今，研究者都無一例外地以海濱版為據。然而，此版本卻是劉氏作了二千多項修訂而成，非原刊面貌，即使到 1979 年劉氏為台北遠景版作修訂，也沒有恢復過來。 〈酒徒〉的連載版與海濱版的差異，直接影響後來文評家對作品的研究方向和評論焦點。 本文擬討論下列問題︰劉氏《酒徒》海濱版作了哪些修訂？從文化產業的角度看， 劉氏修訂的目的是甚麼？ 劉氏連載〈酒徒〉後，依「增」、「刪」、「調」、「換」四種方法修訂，其目的是為了 《酒徒》可以出版，擠進市場，留傳後世。〈酒徒〉連載至今已有五十多年，受到很多學者關注和討論，文學成就已有定論。本文將從文化產業的視閾切入，以小說的原刊面貌為依據，追溯本源，討論連載小說與結集版的差異。

The serial novels of Hong Kong in the 1950s and the 1960s are important resources for cultural production. These novels can either be compiled to publish or adapted into screenplays, therefore, became important original texts for the publishing and film industry. The Drunkard by Liu Yi Chang was a refreshing and daring piece of literary work of its time. Liu claimed that the novel was written to entertain himself instead of its readers. The drunkard’s personal view on arts and literature, voiced through his critical comments towards the press, the publishing and film industry in the story, could well be regarded as Liu’s account of real life in Hong Kong at the time of writing. At more than 100,000 words, the novel was first serialized in 1963 on the literary supplement ''Starry Night'' of Singtao Evening Post and, in the same year, compiled and published by Seashore Publishing Company (Hong Kong). Ever since the 1970s, most researchers of The Drunkard have based their research on Seashore's version. However, Seashore's version has more than 2,000 amendments made by Liu, which were also kept when Liu revised the novel for publication by Vista Publishing (Taipei) in 1979. The differences between the serialized version and Seashore’s version directly affected the direction and focus of many literary critics’ research. This essay is intended to discuss the following questions: What amendments were made in Seashore’s version, and, under the perspective of cultural industries, what is (are) the purpose(s) of Liu's amendments? The Drunkard was amended in four ways, including ''addition'', ''omission'', ''rearrangement'' and ''alteration'', in hopes of ensuring its successful publication. It has been over 50 years since The Drunkard was first serialized, and its literary achievement has been highly acclaimed. Based on the original version, this essay will conduct an in-depth discussion of these amendments under the perspective of the cultural industries.