文化資本與戰爭遺緒的共構：以臺灣外省籍男作家於《亞洲畫報》短篇小說徵文比賽之獲獎現象及其意義為例

"Examination of the Construction of Cultural Capital in Light of War Legacies: Using Winning Submissions to the Asia Pictorial Short Story Competition of Taiwan’s Mainland-born Male Authors and Their Signifi cance as Examples"

香港亞洲出版社於1955年在《亞洲畫報》成立2周年舉辦高額獎金的「短篇小說徵文比賽」，至1962年止此項比賽共舉辦8屆，深受臺灣文壇關注。本文聚焦於50至60年代外省籍男作家於《亞洲畫報》徵文比賽獲獎的歷史背景，探討臺灣早期主導性美學，如何與冷戰結構、美援文化呼應，並形塑出臺港文學共構的反共文學現象。本文分析以軍中陣營為主的外省籍男作家，如何挪用其身分以累積或轉化文化資本，在文學獎中取得發聲權，並以戰爭敘事及「戰爭遺緒」（war legacies）為切入點，從微觀的角度檢視個別作家與臺港文化生產機制之間的互動。在此以《亞洲畫報》短篇小說徵文比賽集結之《亞洲短篇小說選》第1-12集為觀察對象，從郭嗣汾、尼洛、梅遜的作品中深入理解戰爭及其戰爭遺緒，繼而以《亞洲畫報》徵文比賽常勝軍彭歌為例，討論彭歌作品如何見證戰爭，並呈現出歷史脈絡與冷戰格局下戰爭之框與國族主義之關聯性，以此回應傷痕見證與美學形構之間的複雜關係。

"The Hong Kong-based Asia Publishing Company’s Asia Pictorial magazine established the well-endowed Asia Pictorial Short Story Competition on its second anniversary year in 1955. Running from 1955 to 1962 and taking place a total of eight times, the competition was eagerly followed by the literary community in Taiwan. This paper examines the background of Taiwan’s mainland-born male authors who received Asia Pictorial Short Story Competition awards during this period as a vehicle for exploring the dominant aesthetics of the period, how these aesthetics reflected the Cold War structures and U.S. aid culture, and how this competition helped foster an anti-communist “united front” phenomenon in the literary communities of Taiwan and Hong Kong. Furthermore, by adopting war-narrative and war-legacy perspectives, this paper analyzes how these authors, most of whom lived in military enclaves that were relatively isolated from Taiwanese society at large, used their status first to accumulate and transform their cultural capital and then to gain an expanded audience through the competition award. Next, this paper considers from a micro-perspective the interplay between individual authors and the Taiwan-Hong Kong mechanisms of cultural production. From the results of the Asia Pictorial Short Story Competition published in vols. 1-12 of Asia Pictorial magazine, this paper focuses on the works of Kuo Chih-fen, Nilo, and Mei Hsun to elicit a deeper understanding of war and the legacy of war. Finally, the literary works of frequent Asia Pictorial Short Story Competition award winner Peng Ko are examined to consider their perspectives on war, to highlight the association between the framework of war and nationalism under the contemporary influence of historical trends and the Cold War, and then to reflect upon the complex relationship between painful experiences and aesthetic form."