1940年代上海就開始有一批創作者以現代化都市作為創作場景，書寫人情、階級、感覺結構在都市中發生的改變，以海派、新感覺派與張愛玲的先後湧現，呈現一種上海式的「都市傳奇」。易金在上海出版《上海傳奇》，在香港被翻印為香港傳奇，顯示易金在上海時期的小說創作，曾受到香港讀者的歡迎。隨著1949年後到上海文人南遷到香港，也有大量以現代化都市作為書寫對象的作品，可與上海都市傳奇對照觀之。易金編輯《香港時報》副刊時，以「香港傳奇」為欄目，廣徵各方作者投稿，掀起1950到1960年間，香港都市傳奇小說寫作的風潮。本研究以易金的都市傳奇小說書寫與企畫編輯作為分析對象，討論他在上海與香港時期的都市傳奇書寫，分析易金的都市傳奇特色與限制。

In the 1940s, a group of authors emerged in Shanghai who chose the modern cityas the backdrop for their literary works.writing about the changes in human interactions, social class, the structure of feeling as they occurred within the metropolis. Yi Ching released Shanghai Legend in Shanghai, with three editions of the book being published. After that, the book was reprinted in Hong Kong under the title Hong Kong Legend which attests to the fact that the novels written by Yi Ching during his time in Shanghai time were also well-received by readers in Hong Kong.In addition, following the migration of writers from Shanghai to Hong Kong after 1949, a large number of written works were produced which, comparable to Shanghai Legend, also featured the metropolis as its subject.
During his times as editor of the lteraray supplement of the Hong Kong Times, Yi Ching solicited submissions for a special column, “Hong Kong Legend”, and which set off a major trend in ‘urban legend’ novel writing in 1950-60’s Hong Kong. This essay willanalyze the novels and strategic editing of Yi Ching by comparing his writings from Shanghai and Hong Kong, as well as highlighting the characteristics and limitations of Yi Ching’s urban legend.
of time established nationally, officially, or from top-down authority, and instead belongs to the same flow of time which governs the lives of the common people. On the other hand, haiku originated from a temperate monsoon climate. When it was transplanted to a completely different setting, it also presented the issue of the flow of time within the expansion of space. This encompassed the time of the empire and the time of the colonies, as well as the conflict and harmony that existed between both sides.From related discussions that span from the early Japanese period to the 1930’s, one can discern that the majority of Japanese moving to Taiwan were faced with issues related to moving from a temperate climate to a (sub) tropical climate. These people encountered changes in scenery, the lack of clear distinctions between the seasons, as well as a different general feeling associated with the seasons in this new setting. Ultimately, this led to confusion and a number of other subtle changes on the part of Japanese poets, which in turn became a predicament in writing haiku. However, in the process of establishing “Taiwan Haiku” as an art form, the direction which Japanese haiku poets in Taiwan took also changed. The views expressed in their writing gradually shifted from homesickness to preference for Taiwan, depicting realistic portrayal of life. The flow of time also began to abandon the sense of seasons with Japan as the center, and instead looked for minute changes within the uniform “tropical” climate in order to capture seasonal differences as they appeared in Taiwan.
This process reflected the vision and mindset of Japanese in Taiwan—the shift in mentality from living abroad to becoming a permanent resident. To understand haiku, a “common location” must exist; hence, this location was reduced from “the common location among Japanese” down to “the common location among Japanese in Taiwan”. These poetic depictions of scenery contain hidden traces concerning the movement of the boundaries of haiku, as well as the changing ways in which haiku was to be understood. At the same time, they also reflect the flow and change of Japanese culture in colonial Taiwan.