本论文主要考察的是中国现代文学史上的现代主义作家刘呐鸥自1926年来到上海后的文学历程，并将其现代主义的小说书写与半殖民地上海的关系作为本文的考察重点。中国大陆文学史、台湾或是日本的文学史因为各自历史原因，对刘呐鸥的研究很贫瘠，这种贫瘠不仅体现在80年代以前中国大陆对刘呐鸥仅有的、意识形态化的评价，也体现在中国大陆90年代以后，在现代性的追求过程中对刘呐鸥及其小说所怀有的都市情怀中，这种贫瘠更体现在台湾近年来方兴未艾的、对于刘呐鸥的“去中国化”理解中，所谓的贫瘠是就评论数量和评论质量两方面而言。在半殖民地上海，殖民和被殖民者拥有相同的历史，刘呐鸥的现代主义和帝国主义拥有相同的历史。我们可以在刘呐鸥对于上海的讲述中分辨出各种经验所抒写的上海，也可以通过思考这些多种经验交织下的上海叙述来反观现代主义是怎样生成于资本主义关系的内部，并最终被结构化的。刘呐鸥所背负的复杂历史文化因素使他成为了研究30年代现代主义文学的绝佳例子，从他身上我们可以看到体现了跨越多重文化、越境而来的中国现代主义文学在生成之初的艰难，也可以通过其复杂交错的历史文化背景重新思考半殖民地上海的现代主义文学书写与殖民地文化千丝万缕的关系。刘呐鸥的现代主义文学诞生于上海也绝非偶然，它一方面必须通过与带来现代资本主义恩惠的帝国主义共谋，借助上海的异国情调和西方想象完成内容和形式上的现代化，从而取得现代主义文学存在的立足点；另一方面却又在对这半殖民地都市异国情调穷极声色的刻画中暴露出帝国主义介入后的都市的在种族、阶级、性别等方面出现的丑恶，为半殖民地都市的后殖民控诉找到了佐证。本文认为刘呐鸥及其小说之所以会被不同的历史叙述所争夺，是因为它拥有多元的文化和文学元素，不具有整齐划一的边缘，与三、四十年代复杂的历史保持着暧昧关系。

This dissertation studies the road of a modern writer Liu na’ou, who moved into Shanghai from Japan in 1926. The relationship between his writing of modernism and the semi-colonial Shanghai is the main focus of my dissertation.The study of Liu is equally barren in either China mainland or Taiwan for their respective historical reason, though Liu is the founder of the initial modernism in Chinese modern literature. By what I call barren is not only refer to the quantity of studies, but the quality of them. It was not only reflected in the narrow literature critiques by using the method of ideology, but also had its trait in the hot trend of cosmopolitan studies in the context of pursuing the modernity in 1990’s. Of course the initial ‘non-China’ move in Taiwan also contribute a lot to the barren state of studies. The colonizer and colonized, the modernism of Liu and the empire had the same history in semi-colonial Shanghai. We can found different images of Shanghai which were written with different experience in Liu’s modernism in telling the story of Shanghai, also, we can reflect how did the modernism grow inherently inside the relationship of capitalization and was structured eventually by studying them. The complicated culture factors behind Liu made him perfect model in studying the history of literature in 1930’s Shanghai. We can see the hardness the initial modernism which transcend the boundary of nations and cultures in merging into China. We can have a knowledge of the intrinsic relation between modernism and semi-colonialism with the understanding of the background of Liu.It is not accidental that Liu choose Shanghai for his birth of modernism which is on one hand need to accomplish modernization both in content and style so that can get its stand foot by the blessedness acquired by accomplice with empirenism, on the other hand, it explored the ugliness of ethnic affairs, sex, social class and gave evidence for the accuse of colonialism by exaggeratedly describing the semi-colonial cosmopolitan The reason that the writing of Liu was contended by different historical narrative is for his own multi-choice culture factors. There was no cutting edge of modernism and it has an ambiguous relationship with the vivid and vigorous Shanghai in 1930’s.