身份自觉与文艺接受史——从《岛上》看香港地区新文学“兴奋期”的几点特征

Identity Self-Consciousness and A History of Literary Acceptance:A View at Characteristics of the Excitement Period New Literature of Hong Kong From On the Islan

根据侣伦的叙述,1930年代初是香港地区学的“兴奋期”,新文学作品和作家终于被青年读者所接受了,但因为报刊开倒车等客观原因,《岛上》成为了《铁马》和《激流》之间无名的低潮。事实上,相较于由南来作家主导的《铁马》的激进面貌,主要由香港地区本土作家支撑的《岛上》在“通俗”和“纯文学”的风格之间游走,其面貌更接近休闲风格的《伴侣》。但也因此,更多新文学的“香港面目”:呈现出来一方面,《岛上》对于“自己一群”形象和历史的塑造,确是香港地区新文学“兴奋期”的一个佐证和标志;同时,张吻冰《粉脸上的黑痣》与侣伦《Piano Day》等作品,建立在自己一群的生活基础上,故而构成了一种互文性。由此我们可以管窥“岛上的一群”的文艺接受史。

According to LiLun's description,the early 1930s is a period of excitement for the new literature of Hong Kong Region as new literary works and writers were finally accepted by the young readers.However,as a result of newspapers or magazines going backwards,On the Island became a low tide between The Iron Horse and Rushing Torrents.As a matter of fact,compared with the radical features of The Iron Horse,dominated by writers from the North,On the Island,supported by the local writers of Hong Kong Region,was drifting between the styles of the popular and pure literatures,its features closer to Partners in its leisurely style but that were more of the Hong Kong features of the new literature.On the one hand,the shaping of their own group imagery and history by On the Island was evidence and a sign of the Period of Excitement in the new literature of Hong Kong Region,and,at the same time,works like Cheung ManPing's'Mole on a Pink Face'and LuLun's'Piano Day'formed an intertextuality because they were based on the life of their own group.For this reason,we can gain glimpses into the history of literary acceptance in relation to the group on the island.