"Huo hong nian dai" qing nian kan wu de shen fen tan suo yu wen xue tan suo: "Pan gu" , "Wen xue yu mei shu" , "Wen mei yue kan" yu "70 nian dai" shuang zhou kan yan jiu

現代文學的萌生與發展，每每與身分探索相生互動。1960年代後期至1970年代中期，香港的青年文化工作者，常常以雜誌編撰來回應、介入多樁海內外的政治事件和社會運動，並展現出不同的身分探索和文學實踐。有的嘗試以不同的方式去認同、回歸中國，也有的從海外學運和文化中萌生了對全球革命者的跨地域認同，並糅合民族認同和反殖意識，催生出別樹一格的文學實踐。而在「火紅年代」結束前後，認同中國的一脈也嘗試調整身分探索和文學探索的步調。本文將以《盤古》、《文學與美術》、《文美月刊》及《70年代》雙週刊為例，嘗試展示各種身分探索和文學探索的路線。本文共分五章，先一章闡述研究背景與目的，檢視前人的研究成果及不足，並界定研究重點；第二章先剖析早期《盤古》對文化中國的想像，再探討它如何影響了雜誌裡的文學論述，以及以創建學員為中心的創作；然後剖析《盤古》的政治和文學轉向，以及知識分子在轉向過程的身分困惑與掙扎。第三章分析《文學與美術》對後期《盤古》的承繼與調整，分析它對「反映生活」的探索，以及改版為《文美月刊》後對「生活」涵義的重新探索。這章也會旁及文學以外的藝術範疇，以展現《文學與美術》和《文美月刊》對藝術大眾化的實踐。第四章分析《70年代》的反殖意識，挖掘它與國際主義及中國認同的關聯，然後探討激進青年的想像怎樣催生出反殖民、反建制，以及大膽描寫情慾的文學創作；最後，藉沒有宣揚革命意識的文學專輯，叩問編輯怎樣看待文學和政治的關係。第五章總結前文，點出上世紀「火紅年代」青年刊物在身分探索和文學探索上的不同路線，嘗試豐富前人對這時期的理解，並展望拓展研究的方向。The emergence and development of modern literature often intertwines with intellectuals’ exploration of identity. From the late 60’s to the mid 70’s, young writers and editors in Hong Kong responded to and engaged in local and oversea political incidents and social movements by running magazines that demonstrated various identity explorations and literary practices. Some of them identified with China through various means while some developed trans-regional identification by engaging in overseas student movements and culture, and nurtured a distinctive literary practice by integrating ethnic identification and anti-colonial discourse. Toward the end of “the fiery years”, those young writers and editors who identified with China also tried to adjust their self-positioning of identity and direction of literary practice. This dissertation attempts to illustrate the various identity and literary explorations by examining representative publications including Pangu, Wenxue yu meishu, Wenmei yuekan and the 70's Biweekly.This dissertation contains five chapters. Chapter one provides the research context and goals. Through reviewing previous scholarship and its limitation, it helps define my research scope. Chapter two firstly analyzes the imagination of a cultural China of Pangu at its early stage, then discusses its influences on the literary discourse and the writings of the students from the Institute of Creation and Experimentation of Culture. Furthermore, this chapter examines the change of political and literary stance of Pangu, as well as the intellectuals’ confusion and struggle in the course of such change. Chapter three investigates how Wenxue yu meishu inherited and adjusted the editorial approaches of the late period of Pangu and its exploration of reflections of life". After Wenxue yu meishu renamed as Wenmei yuekan, how it revisited the notion of "life" is also discussed. This chapter also examines other aspects of art besides literature, and demonstrates how the popularization of art was put into practice in Wenxue yu meishu and Wenmei yuekan. Chapter four investigates the anti-colonialism discourse found in the 70's Biweekly and its entanglement with internationalism and the intellectuals’ identification with China. It also discusses how the radical youth's imagination helped create literary works that contains anti-colonialism and anti-establishment sentiments, alongside their explicit sexual depiction. Lastly, by discussing the literary sections in the 70's Biweekly, I attempt to illuminate the editors’ perspective on the relation between literature and politics while they made no explicit political claims. Chapter five summarizes previous chapters and indicates different trajectories of identity exploration and literary practice found in these youth publications around “the fiery years” in the last century, so as to enrich our understanding of that epoch."陳子謙.Thesis Ph.D. Chinese University of Hong Kong 2016.Includes bibliographical references (leaves ).Abstracts in English and Chinese.Title from PDF title page (viewed on …).Chen zi qian.Detailed summary in vernacular field only.Detailed summary in vernacular field only