五○年代台港跨文化語境：以郭良蕙及其香港發表現象為例

Abstract

五○年代台灣與香港透過美援刊物的流通，搭建起文學流通的方式，香港也成為台灣女作家嚮往的海外新生地，美新處的台港文化政策，並促使台港間開始文化上、文學上的密切交流。本文以「台灣最美麗的作家」郭良蕙為觀察對象，透過郭良蕙香港發表情形，來釐清五○年代台港間複雜的文化政治與跨文化交流。郭良蕙在美新處資助的文藝刊物上發表文學作品，其作品是在什麼樣的脈絡下，被香港文學場域接受，其創作位置又是如何與香港文壇產生聯繫？摩登女郎郭良蕙所引發的心鎖風波，標誌出台港兩地對於文化生產的不同態度，包括當時台灣內部中華民族主義發展之焦慮，與香港擁護創作自由的立場，並突顯出郭良蕙在台灣女性作家群中所具有的身分多元性與異質性。郭良蕙於當時美國在冷戰期間於香港進行政治宣傳所催化的文壇型態下，與台港共通的「南來文人」文化語境之中，透露她性別政治的態度，與回應都會書寫的內涵，並在當時「中國性」和「現代性」對話的脈絡之中，進行台港跨界／跨文化交流。

During the 1950s, U.S.-aid-supported literary and cultural journals were an important platform for literary exchange between Taiwan and Hong Kong and helped make Hong Kong a popular destination for Taiwan’s female authors. Furthermore, contemporary U.S. Information Service (USIS) cultural policies actively promoted close cultural and literary exchanges between these two political entities. This article uses the activities in Hong Kong of Liang-hui (Gloria) Kuo, Taiwan’s “most beautiful” author, to elucidate the complex nature of the cultural-political landscape and the cultural exchanges that occurred between Taiwan and Hong Kong during this period of recent modern history. Key issues discussed include: the contemporary conditions that encouraged the literary community in Hong Kong to embrace Kuo’s USIS-sponsored literary works and the creative position of Kuo in the context of Hong Kong’s contemporary literary community. The ferment that erupted over Kuo’s work Lock of the Heart highlights the stark differences in cultural attitudes that prevailed in Taiwan and Hong Kong at that time, which may be attributed to contemporary anxieties in Taiwan over the future of Chinese nationalism and to Hong Kong’s staunch support of freedom of expression. Her handling of these issues in this book further highlights Kuo’s complex identity and heterogeneity within Taiwan’s community of female authors. In the sociopolitical context of the “southern diaspora” of Chinese scholars, which affected both Taiwan and Hong Kong, the catalogue of works produced by Liang-hui Kuo in the 1950s reveal her attitudes toward contemporary gender politics and her approach to Taiwan-Hong Kong / cross-cultural exchange in terms of the contemporary dialogue between “Chineseness” and modernity.