六○年代香港現代主義迷思──以〈長廊的短調〉、〈攜風的姑娘〉和〈化石〉為例

The 60s Hong Kong Modernism Myth: Three Hong Kong Modernism Fictions as an Example

本文所選取的三篇小說，刊登於六○年代初著名的香港現代主義刊物《好望角》；三十多年後又全數入選也斯編選的《香港短篇小說：六十年代》。本文試借對這三個文本的分析，探索香港現代主義文學的文化癥候及現代性反思。本文第一部分討論〈長廊的短調〉和〈攜風的姑娘〉中時間感與空間感的表現，發掘其「都市」景觀及其隱喻的同質性。第二部分將〈化石〉中的「東方想像」和「西方想像」、〈長廊的短調〉中的「美國水兵」形象與〈攜風的姑娘〉中的多文化雜處相對照，分析香港對異文化的文學表現及其背後隱藏的多重邏輯。最後則將視角投向三篇小說的情慾書寫，借此深入香港現代主義小說的肌理，挖掘其背後潛藏的「他者」與主體意識。

The three novels this essay selected, were published in Modern Edition, the famous Hong Kong modernism periodical in early 1960s, and were all selected by the Hong Kong Novels Anthology: 1960s, edited by PK Leung. This essay tries to explore the cultural symptoms and the reconstruction of modernity in the Hong Kong modernism literature through the texture analysis of the three texts. The first part will discuss the time and space in “Changlang de Duandiao” and “Xiefeng de Guniang,” and analyze the urban view and the metaphor of the homogeneity. The second part will juxtapose the “Oriental Imagination” and the “Western Imagination” in “Huashi” with the American sailor in “Changlang de Duandiao” and the multi-cultural hybridity in “Xiefeng de Guniang” to analyze the multi-cultural representation in Hong Kong literature and the hidden logic behind it. The last part will take a view of the erotic writing to penetrate into the texture of the Hong Kong modernism novels and to dig “the other” and the subjective consciousness back behind.