馬來亞詞作研究——以《檳城新報》為例（1911-1936）
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2023
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為了完整與填補馬華舊文學中古典詞的空缺，故先對《檳城新報》從1895年至1936年間的古典詞作品進行整理、統計、辨識、歸納與校對。此外，針對報刊中1911年至1929年的古典詞文本進行辨識與校對，以可提供馬華舊文學更多的研究材料。在「南來華人背景與檳城古典文學風氣」一章中，首先探討南來華人的歷史背景之意義，從漢代開始中國與馬來亞在商業貿易與交流直到明清時期大量華人南來，南來原因眾多，但離開故土的他們始終對祖國有著強烈的思鄉之情與關懷之情。報章成為他們主要獲取祖國消息的媒介，同時也成為文學創作的園地，進而能夠探討以此建構的文學風氣。然而在更早之前，力鈞於1891年到檳榔嶼遊玩三個月期間，以當時的見聞寫了《檳榔嶼志略》並收錄了許多文學作品，視為目前已知有收錄檳城文學的著作。從《檳榔嶼志略》與《檳城新報》中收錄的文學作品試圖建構檳城古典文學風氣。
在「《檳城新報》古典詞作品（1911—1929）」一章是把從1911年至1929年間的古典詞中題材最多的是女性自主、應酬唱和及離情送別。女性主題主要是以「琴公」的十四闕詞為主要探討的對象，從而了解當時女性在新文化運動中受到的影響。應酬唱和之作以女性之間的唱和及祝賀的作品為探討對象，進而發現當時推崇月瓊女士的創作是沒有南洋本土符號的作品，藉此了解當時文人對古典詞的追求。最後是離情送別，主要是以中國傳統文學的模式來書寫，包括所用之典故、語言、語境和意象。雖然偶有運用現代詞彙的作品，但多數就算是在新思潮、新文化的影響之下，還是有保留古典文學的特質。最後是欲論述「〈詩詞專號〉古典詞作品（1930—1936）」，為刊載於《檳城新報》最多古典詞的時期。由於當時正經歷文字案，新文學陷入低潮期。這個時期的舊文學得以返回文壇的機會，然而作品多以應酬唱和為主。是以從創作數量最多的作家——曾夢筆、伍錫培及郭碧峯為主要的探討對象，以探討應酬唱和之作與當時背景的關係。
In order to complete and fill the gaps in the classical Ci poetry of the former literary works of the Malayan Chinese, an organization, compilation, statistical analysis, identification, summarization, and proofreading of classical Ciworks from the"Penang Sin Poe"（《檳城新報》） newspaper between 1895 and 1936 were carried out. Furthermore, there was a focus on the recognition and proofreading of classical Ci texts from the period 1911 to 1929 in the newspapers, aiming to provide more research materials for the study of old Malayan Chinese literature. In the chapter titled "The Background of Southern Chinese Immigrants and the Classical Literary Atmosphere of Penang," the significance of the historical background of Southern Chinese immigrantswas explored. The trade and communication between China and Malaya started from the Han Dynasty, leading to a substantial influx of Chinese immigrants to the region during the Ming and Qing periods. While there were various reasons for their migration, these immigrants always held strong feelings of homesickness and concern for their homeland. Newspapers became their primary source of information about their homeland, as well as a platform for literary creation, thus contributing to the construction of a literary atmosphere. Additionally, as far back as 1891, Lijun's visit to Penang Island for three months resulted in the creation of "Penang Island Sketch"（《檳榔嶼志略》） which included numerous literary works and is considered one of the known works containing Penang literature. The literary works collected from "Penang Island Sketch" and "Penang Sin Poe" were used to attempt to construct the classical literary atmosphere of Penang. In the chapter titled "Classical Ci Works in 'Penang Sin Poe' (1911—1929)," the most prevalent themes in classical Ci poetry between 1911 and 1929 were found to be women's autonomy, socializing and singing, and farewells due to separation. The primary focus of the exploration was on the fourteen Ci poems of "Qin Gong,"（琴公） shedding light on the influence of the New Culture Movement on women during that time. The analysis of socializing and singing works involving women aimed to understand the praise and celebratory compositions among women, further revealing that the highly regarded works of YueQiong（月瓊女士） during that period lacked local symbols from the Nanyang region. This provided insights into literati pursuits of classical Ci during that era. Lastly, farewell poems followed the traditional Chinese literary model, encompassing allusions, language, context, and imagery. While occasional usage of modern vocabulary could be found, most works, even under the influence of new thoughts and the New Culture Movement, retained the characteristics of classical literature.Finally, there's a discussion of the "Ci Poetry Special Edition (1930—1936)" （《詩詞專號》）which was the period featuring the highest number of classical Ci poems published in the "Penang Sin Poe" newspaper. As this era coincided with the text reform, the new literature experienced a decline, allowing old literary works to return to the literary scene. However, these works mostly revolved around socializing and singing. Therefore, the discussion primarily revolves around the works of the most prolific writers during this period—Zeng Mengbi（曾夢筆）, Wu Xipei（伍錫培）, and Guo Bifeng（郭碧峰）—to explore the relationship between their works and the background of that time.
In order to complete and fill the gaps in the classical Ci poetry of the former literary works of the Malayan Chinese, an organization, compilation, statistical analysis, identification, summarization, and proofreading of classical Ciworks from the"Penang Sin Poe"（《檳城新報》） newspaper between 1895 and 1936 were carried out. Furthermore, there was a focus on the recognition and proofreading of classical Ci texts from the period 1911 to 1929 in the newspapers, aiming to provide more research materials for the study of old Malayan Chinese literature. In the chapter titled "The Background of Southern Chinese Immigrants and the Classical Literary Atmosphere of Penang," the significance of the historical background of Southern Chinese immigrantswas explored. The trade and communication between China and Malaya started from the Han Dynasty, leading to a substantial influx of Chinese immigrants to the region during the Ming and Qing periods. While there were various reasons for their migration, these immigrants always held strong feelings of homesickness and concern for their homeland. Newspapers became their primary source of information about their homeland, as well as a platform for literary creation, thus contributing to the construction of a literary atmosphere. Additionally, as far back as 1891, Lijun's visit to Penang Island for three months resulted in the creation of "Penang Island Sketch"（《檳榔嶼志略》） which included numerous literary works and is considered one of the known works containing Penang literature. The literary works collected from "Penang Island Sketch" and "Penang Sin Poe" were used to attempt to construct the classical literary atmosphere of Penang. In the chapter titled "Classical Ci Works in 'Penang Sin Poe' (1911—1929)," the most prevalent themes in classical Ci poetry between 1911 and 1929 were found to be women's autonomy, socializing and singing, and farewells due to separation. The primary focus of the exploration was on the fourteen Ci poems of "Qin Gong,"（琴公） shedding light on the influence of the New Culture Movement on women during that time. The analysis of socializing and singing works involving women aimed to understand the praise and celebratory compositions among women, further revealing that the highly regarded works of YueQiong（月瓊女士） during that period lacked local symbols from the Nanyang region. This provided insights into literati pursuits of classical Ci during that era. Lastly, farewell poems followed the traditional Chinese literary model, encompassing allusions, language, context, and imagery. While occasional usage of modern vocabulary could be found, most works, even under the influence of new thoughts and the New Culture Movement, retained the characteristics of classical literature.Finally, there's a discussion of the "Ci Poetry Special Edition (1930—1936)" （《詩詞專號》）which was the period featuring the highest number of classical Ci poems published in the "Penang Sin Poe" newspaper. As this era coincided with the text reform, the new literature experienced a decline, allowing old literary works to return to the literary scene. However, these works mostly revolved around socializing and singing. Therefore, the discussion primarily revolves around the works of the most prolific writers during this period—Zeng Mengbi（曾夢筆）, Wu Xipei（伍錫培）, and Guo Bifeng（郭碧峰）—to explore the relationship between their works and the background of that time.
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馬華文學, 馬華古典文學, 馬來亞詞, 檳城新報, none