Xian dai Zhongguo wen yi zai Xianggang: "Ba fang wen yi cong kan" (1979-1990) yan jiu = Modern Chinese literature in Hong Kong : a study of Bafang (1979-1990)

Ph.D.As Cultural Revolution ended in late 1970s, Chinese intellectuals were again in their quest for modernity by referencing western cultures. However, as soon as the “Reform and Opening” policy was promulgated, the Chinese cultural modernity failed to resurrect the zeitgeist of May Fourth era. At the same time, literature of critical realism was no longer popular after social movements in Hong Kong lost its momentum. Bafang Wenyi Congkan 八方文藝叢刊 (1979-1990) determined to create a nonpartisan magazine for Chinese writers on the Mainland and overseas. This thesis proposes that Bafang has reconsidered the cultural scene of China and overcame the Cold War ideology by addressing the notion of “Modern”. The case study of Bafang illustrates the perspective of Hong Kong intellectuals and looks for alternative routes to widen the scope of modern Chinese literature and arts.The thesis consists of six parts. The first part is the introduction, which situates the seeking of Chinese cultural modernity of Bafang in the historical and political background of China from late 1970s to early 1990s. The second part investigates how Chinese writers developed an unofficial literature model by integrating realism and modernism. The third part illustrates how Bafang referenced to Eastern European Literature and tried to propose social reform through Chinese Avant-garde Literature. The fourth part discusses the creative transformation of the Chinese “Wenren” (literati) tradition and how Hong Kong intellectuals adopted it in 1980s. The fifth part examines Chen Ying-zhen’s perspective of social intellectual history and its impact on Hong Kong literature. The sixth and last part concludes the importance of Bafang to Hong Kong Literature and Chinese Literature.七十年代後期，中國大陸文化大革命宣告結束。伴隨中國社會對現代化的追求日趨熾熱，知識分子在八十年代以西方文化為資源，重新探尋中國現代性。然而，在改革開放的社會轉型下，中國現代文藝卻未有完成自五四新文化運動以來的文化現代性建構。同時，香港的社會運動隨文革結束逐漸冷卻，具批判性的文藝 路線成為末流 ，在此時 出版的《八方文藝叢刊》 (1979-1990)（《八方》意識到中國與香港政治與文化狀況的變化，銳意為中國海內外的文藝工作者提供 「 完全公開的園地 」 ，回應時代變化，值得留意。本文認為，《八方》透過重新思考現代中國文藝的一系列問題，嘗試突破冷戰意識形態，提出了中國官方論述以外的「現代」觀念。作為案例，《八方》展現以香港知識分子的視野，開拓了中國現代文藝批判性的思考路徑。本文共有六章。第一章為導言 首先疏理中國七十年代末到九十年代初的歷史和政治狀況，並配合相關理論，為《八方》對中國文化現代性的追求提供具體的分析背景。第二章至第五章則以《八方》 的 內容為核心，展開其對中國現代文藝不同角度的思考。第二章以《八方》 第 三 期 「現實主義與現代主義問題專輯」中對西方現代思潮與中國寫實傳統的結合為主軸，審視中國現代作家和流派如何突破「社會主義現實主義」的官方定位。第三章則說明《八方》以比較文化的視野，把東歐文學的經驗融入中國八十年代尋根小說，提出以前衛文學改革社會的人文主義精神。第四章轉入《八方》對中國傳統「文人」精神 的創造性轉化，討論其與中國現代文藝的對話協商，提出香港知識分子在八十年代具批判精神的「現代文人」形象。第五章探討《八方》如何借鏡陳映真的社會思想史框架，為香港文學提供了「介入式」的閱讀方法，並說明其對政治與社會的介入力量。最後，第六章整合全文所述，總結《八方》研究對香港文學研究以至現代中國文藝研究的意義，並提出延伸的研究方向。駱倩鳴."2020年9月".Parallel title from added title page.Thesis Ph.D. Chinese University of Hong Kong 2020.Includes bibliographical references (leaves 202-217).Abstract also in English.Title from PDF title page (viewed on March 16, 2022).Luo Qianming