홍콩문학에 나타난 플라뇌르 （flâneur） 형상 연구 = 香港文學中的遊蕩者（flâneur）形象研究

다국어 초록 (Multilingual Abstract)

This study draws on Walter Benjamin’s concept of the “flâneur” as its primary theoretical foundation. It uses this concept to understand urban writing, historical awareness, and cultural reflection in Hong Kong literature. From the perspective of author studies, it examines how Hong Kong writers from different periods describe city life and identity through urban wandering. Unlike earlier studies that focus mainly on modernity or the colonial experience, this study emphasizes the flâneur as a means of observing the city and reflecting on reality, and examines how this way of seeing evolves in the Hong Kong context.
The study first reviews how the concept of the flâneur emerged in nineteenth-century Paris. It points out that the renovation of Paris changed not only the city space but also how people felt and understood the city. This led to the rise of a city observer who stays among the crowd but keeps some distance. Baudelaire saw the flâneur as someone who could catch changes in everyday life. Benjamin further noted that this slow walking also involves observing and questioning the world of goods and capital. Therefore, the flâneur is not only a historical figure, but also a way to look at the city and society from the margins. In Hong Kong, a colonial and postcolonial city, this way of seeing is reshaped to express identity anxiety and cultural breaks in an immigrant society.
In terms of method, this study combines close reading with historical background analysis. It compares key works from the postwar period to the years around the 1997 handover. It focuses on writers such as Lü Lun, Shu Xiangcheng, Cao Juren, Liu Yichang, Tao Ran, Xi Xi, and Yesi. It examines how the image of the flâneur changes with urban growth and social change, and how it connects with the writers’ life experiences and cultural positions.
The study finds that in works from the postwar period to the 1960s, the flâneur often appears as a small figure struggling at the edge of the city. These characters show strong feelings of drifting and rootlessness. They reflect the unstable life of immigrants. In the 1960s and 1970s, with economic growth and fast urban development, the flâneur more often became an intellectual figure. These figures show loneliness and a sense of exclusion in a commercial society. As 1997 approaches, the flâneur changes again. It becomes a narrative way to explore the city and identity. Writers use fantasy, metaphor, and cross-cultural views to rethink Hong Kong. Based on this, the study proposes the idea of “Bohemian Hong Kong.” It points out that Hong Kong’s flâneur keeps the critical view of Western urban tradition, but is also deeply rooted in local spaces such as street markets, teahouses, and newspaper offices. This creates a city observer who both takes part in daily life and keeps a reflective distance.
Overall, although the flâneur appears in different forms in different periods, it always responds to Hong Kong’s condition as a colonial and immigrant city. It links personal life stories with the history of the city. It shows cultural breaks, marginal identities, and anxiety about modern life. Through the flâneur’s view, Hong Kong literature keeps rethinking the meaning of the city and cultural identity. This gives it an important place in global urban writing and postcolonial studies.
The value of this study lies in three points. First, it introduces Benjamin’s flâneur theory into Hong Kong literary studies and adjusts it to local history and culture. This shows that the concept also works in non-Western cities. Second, by comparing writers from different periods, it traces how the flâneur image changes in Hong Kong literature. This adds to the historical understanding of urban writing. Third, it discusses the position of Hong Kong literature from a cross-cultural view and offers new topics and texts for Chinese-language literary studies, especially for related research in Korea.

다국어 초록 (Multilingual Abstract)

本研究以本雅明「遊蕩者」為核心，視其為理解香港文學都市書寫、歷史意識與文化反思的重要視角及方法論，並從作家論角度系統考察不同時期、不同創作取向的香港代表作家如何借由都市遊蕩的觀看姿態敘寫城市經驗與身份敘事。本文強調「遊蕩者」作為一種批判現代性的觀看方式，在「香港」語境中的文化意涵及在地化。
本研究首先回溯「遊蕩者」在十九世紀巴黎的都市經驗中如何生成，指出巴黎大改造不僅重塑了城市空間結構，也改變了個體感知城市的方式，從而催生兼具沉浸與疏離雙重特質的現代城市主體。波德萊爾將遊蕩者視為混跡人群而不被吞沒的觀察者，本雅明則進一步揭示其觀看背後對商品社會與資本景觀的批判，使遊蕩者成為揭示現代性矛盾的重要形象。據此，本文深挖，「遊蕩者」在作為一種形象外，還以邊緣的視角反思現代生活節奏，介入所處年代的主流敘事。在香港這一殖民與後殖民經驗交疊的城市，「遊蕩者」經由在地水土及文化精神滋養，其指向已進一步豐富為反映移民社會的身份焦慮與文化斷裂創傷的香港式遊蕩者。
在研究方法上，本文結合文本以及歷史、社會語境考察，剖析戰後冷戰格局形成至香港回歸前不同時期的代表性文學作品中的遊蕩者形象，重點落在侶倫、舒巷城、曹聚仁、劉以鬯、陶然、西西與也斯的創作，探討遊蕩者形象如何隨城市結構與社會變化而發生轉型，並如何成為作家個人遷徙經驗及文化立場的多棱鏡。
本研究指出，戰後至1960年前後，遊蕩形象多體現為帶有失根感的邊緣生存者，其遊蕩含雜著夾縫中的棲身欲望，並非有餘裕地閒逛，反映出新移民社會的離散心理與社會動盪；1960至1970年代，伴隨經濟起飛與都市現代化進程加速，遊蕩者逐漸轉化為知識份子主體，其觀看指向與上個十年相比，更多直刺商業社會中的精神異化與嚴肅文學在通俗文學湍流中如何被邊緣化；而臨近「九七」之際，遊蕩者姿態進一步演變為探討「我城共同體」的獨立主張。因此此時期的香港本土作家試圖通過幻象、寓言或跨文化觀看的方式，重構介於本土與國族本體乃至全球之間的「第三空間」視角。據此作論後本研究指出香港的都市遊蕩者既繼承西方現代性中的批判觀看傳統，又深度嵌入殖民地社會的都市生活，形成兼具批判性、反思性以及後瞻性的混雜形象。
各時期的遊蕩者形象雖形象各異，但都將個人命運與都市歷史緊密相連，呈現出現代性焦慮的多重面向，進而回應了香港作為殖民地與移民都市的矛盾性。正是通過「遊蕩」這一視角，香港文學得以在夾縫處境中持續重構都市意義與文化主體性，成為全球都市文學與後殖民書寫中極具參考價值的主體。
本文的意義在於：其一，將本雅明遊蕩者理論引入香港文學研究，拓展了該概念在非西方都市語境中的覆蓋面；其二，通過作家論與歷史分期相結合的方式，梳理遊蕩者形象在香港文學中的演變軌跡；其三，從跨文化與全球都市文學視角重新定位香港文學的位置和價值，為華文文學研究提供另一理論支點與文本資源，亦對韓國學界華文文學研究做些許補充。

목차 (Table of Contents)

• 제1장 서 론 1
• 제1절 연구의 목적 1
• 제2 절 연구의 범위 및 방법 5
• 1. 홍콩문학의 범주 5
• 2. 연구 이론과 방법 9
• 3. 선행 연구 13
• 3.1 한국의 홍콩문학 연구 13
• 3.2 홍콩문학 및 플라뇌르에 관한 학위논문 23
• 제2장 연구에 관한 이론적 배경 34
• 제1절 주변부로서의 홍콩문학 36
• 제2절 모더니티의 탄생과 전파 45
• 제3절 플라뇌르 개념 및 변천 57
• 1. 플라뇌르의 원형 앨런 ： ， 포 군중 속의 남자 57
• 2. 보들레르 작품 속 플라뇌르 형상 59
• 3. 벤야민과 플라뇌르 개념의 정립 63
• 제3장 기형적 상업문화 속 생존과 저항의 주체로서의 플라뇌르 75
• 제1절 1950-60 제절 년대 홍콩문학의 주제로서의 디아스포라 75
• 제2절 생존 공간의 파괴와 인물의 정신적 파탄 83
• 1. 난민 : 侶倫，窮巷 85
• 2. 기아：舒巷城，太陽下山了 98
• 3. 무녀：曹聚仁，酒店 110
• 3.1 인정세태에 대한 통찰 112
• 3.2 무녀의 욕망，상품으로서의 응시 119
• 4. 문인：劉以，酒徒 131
• 4.1 통속 문화에 대한 비판 132
• 4.2 '酒徒現象'：홍콩 문인의 곤경을 반영 143
• 제4장 이식된 모더니티의 관찰자로서의 플라뇌르 152
• 제1절 홍콩에서의 모더니즘과 모더니티 160
• 제2절 劉以의 모더니즘 실천：對倒에서 나온 플라뇌르 형상 168
• 1. 플라뇌르의 의식의 흐름 173
• 2. 플라뇌르의 공간 인식 190
• 제3절 陶然의 모더니즘 실천：진실한 홍콩인으로서의 플라뇌르 198
• 제4절 '역사 다시쓰기'와 모더니티의 분열 215
• 제5장 혼종적 도시 경험에 대한 성찰자로서의 플라뇌르 223
• 제1절 1970년대 이후 '홍콩의식' 의 확립 224
• 제2절 '군상형 플라뇌르'：西西，我城 228
• 1. 다중 시각에서의 모더니티 체험 231
• 2. 플라뇌르로서의 '모더니티의 영웅' 237
• 3. '我城共同體'의 유토피아 理想 245
• 4. 포대기 속 뿌리 없는 허공의 도시 253
• 제3절 也斯와 플라뇌르 262
• 1. '나'의 구경：剪紙 264
• 1.1 三方 시점：'나'，喬，瑤를 통한 중서홍콩의 구도 267
• 1.2 剪紙와 파편화의 알레고리 271
• 1.3 거리의 응시：사라지는 도시의 노스탤지어 275
• 2. 플라뇌르 也斯：煩惱娃娃的旅程 282
• 2.1 부재하면서도 현존하는 홍콩 284
• 2.2 다문화 경험의 마찰과 융합 291
• 2.3 식민지인의 발언권 310
• 제4절 西西와 也斯의 플라뇌르 형상을 통해 본 도시 321
• 제6장 결론 325
• 참 고 문 헌 332
• ABSTRACT 350