香港现代主义思潮的政治意涵——以《好望角》为中心的讨论

The Political Significance of Modernist Trends in Hong Kong,with a Discussion of Cape of Good Hope as the Centre

20世纪五六十年代,香港现代主义思潮切入现实政治的思想路径与四十年代平津地区自由主义知识分子的文化建国方案在理论层面具有相似性,《好望角》作为该思潮后期代表性刊物,延续了昆南、马朗等人以现代主义重构民族文化的意图与策略,尤具典型意义,其核心人物李英豪与九叶诗人袁可嘉在理论上师出同源,这使得他们在面对何为现代与何为现实等理论问题时,逻辑相似,且建构出相近的“民主诗学”体系,而现代主义理论的高度抽象性也为其设置了相同的障碍,即无法将这一民主体系化为实践。七十年代中后期叶维廉关于“中国诗学”的持续思考,既是这两支内蕴政治诉求的中国现代主义思潮的衔接与延伸,亦再一次证明了其寄身于文化层面的局限性。

In the 1950s and 1960s,the way by which modernist trends in Hong Kong cut into real politics was similar to the cultural nation-building plan,on a theoretical level,as made by the liberal intellectuals in the Peking and Tianjin region.As a magazine representative of the trends on a later stage,Cape of Good Hope continued the intention and strategy of such people as Kun Nan and Ma Lang in re-constructing the nationalist culture with modernism.What is of special typical significance is that Li Yinghao and Yuan Kejia,a poet of the Nine-leaf Group,both key personalities,shared their theoretical origin.As a result,they,in the face of what is modernism and what is reality,had similar logic and constructed a similar system of poetic democracy.And the high abstractness of modernist theory has also set up a similar obstacle in that it is unable to turn the democratic system into practice.In the mid-and-late 1970s,Wai-lim Yip’s continuing thoughts on‘Chinese poetics’are a link and an extension to the two modernist trends in China that contain political appeals,another proof about its limitation on a cultural level.