文學自畫像： 香港作家小說中的作家形象及自我書寫

本論文旨在細讀由文人為主要視角講述自身及香港故事的長篇作家小說，看其投射出怎樣的藝術形象及作家人格。結合文學史料的鉤沉，以一九五零年代中期本地的現代文藝雜誌為世界文藝的視窗，分析其對本地作家想像和建立作家形象及文藝追求的作用，尤其是作家如何反觀自身的定位及使命。然後以作家與社會、市場、 自身責任這三方面為切入點，對五位當代香港作家（侶倫、舒巷城、劉以鬯、崑南、董啟章）的三組作家小說進行比較閱讀，探討當代社會歷史語境下的幾種作家形象及其深意。

本論文的研究方法主要建基於二十世紀法國社會學家布赫迪厄（ Pierre Bourdieu）的「場域」論述，特別參考了布赫迪厄對文化生產場域中不同位置的參與者的競爭行為的具體分析。另外，本論文也以當前學術界關於「 知識份子」的主要討論以及西方現代主義藝術家成長小說中的藝術家典型形象為輔助，嘗試發展出兩種互為補充的分析進路。第一種為「文人-知識份子」模式或趨向，強調作家的道德感及/或批判意識，第二種為「作家-藝術家」典型或趨向，指向作家的藝術家身份意識，體現在文學作家對小說技藝及美學理念的深入思考。

本論文的章節安排如下。第一章為「緒論」，簡介本論文的研究目的、對象、方法及架構。第二章詳細介紹本論文的研究背景及概念框架，勾勒當代香港作家的群體形象，解釋本論文的兩個關鍵詞「 知識份子」及「藝術家」。第三章結合本地文學史料說明五、六十年代以來的香港文壇在引介和轉譯世界現代文藝作品的過程中，如何發展出知識份子及藝術家身份意識。第四至六章分別對三組作家小說進行個案分析。第四章以侶倫《窮巷》及舒巷城《太陽下山了》這兩部香港早期具有地方色彩的作家小說為主要分析對象，探討難民社會中的兩種作家房客形象。第五章對讀劉以鬯《酒徒》與崑南《地的門》這兩部香港早期的意識流小說，討論兩個精神困頓的現代文人形象。第六章以董啟章《美德》和「狐狸五部曲」（《心》、《神》、《愛妻》、《命子》、《後人間喜劇》）為例，討論獲得學院認證的成熟期作家的形象轉變。第七章指出上述三組作家小說在作家形象及自我書寫上的對話關係。

This thesis aims to conduct a closed reading on novels that tell the stories of men of letters and the city from the perspective of writer protagonists to explore the projected images and personalities of an artist. Based on some literary archives, it is to analyze how the modernist literary magazines in the mid-1950s – as a window of latest trends in world literature – act on local writers’ imagination of their own images as well as on their assertation of artistic pursuits, especially in their self-positioning and responsibilities as literary writers. With an emphasis on the relations between writers and society, market and their own responsibilities, comparative analysis has been carried out on three groups of novels by five Hong Kong writers (i.e. Lü Lun, S.C. Wong, Liu Yichang, S.Quanan and Dung Kai-cheung) to see different images of writers against the backdrop of contemporary Hong Kong.

By referring to Pierre Bourdieu’s analysis on the field of cultural production wherein various parties compete for a privileged position, as well as scholarly discussions on “the intellectual” and some typical images of an artist as shown in the modernist Künstlerroman, this thesis attempts to develop two complementary approaches to writer-protagonist novels, i.e. a “literatiintellectual” and a “writer-as-an-artist” model, while the former has an ethical or critical dimension, the latter calls attention to a writer’s deep reflection on the craft of fiction and some aesthetic principles.

The thesis is composed of seven chapters. Chapter One gives an introduction on the goal, subject of study, major methodologies and structure of the thesis, Chapter Two expounds on the research background and the conceptual framework of current study, followed by a group portrait of men of letters in contemporary Hong Kong as well as an elaboration of two keywords of this thesis, i.e. “the intellectual” and “the artist.” Chapter Three resorts to local literary archives to indicate the development of a “literati-intellectual” and a “writer-as-an-artist” identity as modernist literature from the globe has been introduced to Hong Kong and adapted culturally since the 1950s and 1960s. In the next three chapters there are case studies on three groups of writer-protagonist novels. Chapter Four focuses on two early novels with local colors - i.e. Lü Lun’s Poor Alley and S.C. Wong’s When The Sun Sets - to register two images of tenant-writers in the refugee society. Chapter Five compares both melancholy modern writers in Liu Yichang’s The Drunkard and S. Quanan’s Down Through the Limbus, the two early novels of stream-of-consciousness in Hong Kong. Chapter Six takes several novels written by Dung Kai-Cheung, i.e. Virtues and the “Fox Quintet” (Kokono, The Spirit, AI, A Son and The Posthuman Comedy), as examples to discuss the re-positioning of an established writer. As a conclusion, Chapter Seven connects the three groups of writer-protagonist novels in terms of self-representation by a writer. All rights reserved.