马来西亚华文文学（简称马华文学）通常被视为海外华文文学的地域分支，其风向流变与大陆、台湾的文学状况有着千丝万缕的联系；但由于马来西亚后殖民时代特殊的政治历史环境，武断地将马华文学视为中国新文学的支流，会使得许多值得深究的关键问题被回避或掩盖。黄锦树正是一位充分关注马华文学历史与命运的马来西亚华裔作家，他的创作在当代马华文学界亦独树一帜，获得了国际声誉。“无国籍马华文学”是黄锦树近年来所提出的一项马华文学的纲领性理论，是对其多年论战、批评与创作的总结，这一论述力图让马华文学超脱于民族-国家文学的框架之外，注重促成文本被生产的在地背景与文化语境。本文以这一概念为解读黄锦树马华文学“述”与“作”的钥匙，在概览马来西亚华人史、马华文学史与黄锦树个人观念史的基础上，通过具体的文本分析尝试回答了如下问题：其一，“无国籍华文文学”如何将自身锚定于马来西亚与中国的民族-国家文学框架之外，又如何与“马华现实主义”与“中国性-现代主义”拉开距离？其二，“无国籍华文文学”如何在“华文”与南方方言之间建立应然联系，从而在标明民族性的同时锤炼独特的文学语言？其三，黄锦树将马共书写作为马华文学“无国籍”状态的隐喻，如何理解其背后的话语位置与美学追求？在笔者看来，在黄锦树的论述脉络中存在政治与美学层面的两种“中国性”。“南方”与“离散”的等式不仅在理解的层面将处在历史进程中的“白话文”或中国现当代文学贫瘠化，也限制了马华文学应然的内容与题材，令“南方”不断反刍殖民与离散的痛楚。黄锦树以马共题材书写既隐喻马来西亚本土性对华人的排斥与伤害，也象征了大马华人的中国情结对族群的悲剧性影响；但小说对历史的抽象性、戏谑性处理，削弱了召唤共情的效用，也透露了文本背后的诉求带有强烈的主观色彩。当一切的创作都成为“重写”，当一切的论述都成为“抵抗”，黄锦树的“无国籍马华文学”便抵达了自身的限度，同时也启发我们反思“华语语系”与“南方风土”等论述的意义脉络。
Malaysian Chinese literature (referred to as Mahua Literature) is often regarded as a regional branch of overseas Chinese literature, whose trend is inextricably linked to the history of literature in mainland China and Taiwan. Nevertheless, due to the special political and historical condition of Malaysia‘s post-colonial era, many key issues worthy of further investigation would be evaded or obscured if arbitrarily viewing Mahua literature as a tributary of new Chinese literature. Ng Kim Chew is a Malaysian Chinese writer who is fully concerned about the history and destiny of Malaysian Chinese literature, and his work is unique in the contemporary Chinese literary scene and has gained international acclaim."Non-Citizenship Malaysian Chinese Literature" is a programmatic theory of Malaysian Chinese literature put forward by Ng in recent years, which is a summary of his oeuvre. The theory seeks to take Mahua literature beyond the framework of nation-state literature and focus on the local context. Ng uses the Mandarin Chinese intermixed with linguistic elements derived from southern Chinese dialects to mark his writing position. He also examines the scars of the Malaysian Chinese ethnic group from the history of the MCP (Malayan Communist Party). Ng engages himself in unlimited dialogue in the field of world literature through various modernist techniques such as metawriting, parody, etc., with a view to "rewriting" Mahua literature out of national agenda. Based on an overview of the history of Malaysian Chinese ethnic group, the history of Mahua literature and the history of Ng‘s personal experiences, this thesis attempts to answer the following questions through specific textual analysis: First, how does " Non-Citizenship Malaysian Chinese literature" anchor itself outside the framework of nation-state literature in Malaysia and China, and how does it distance itself from " Mahua realism" and "Chineseness-modernism"? Second, how can " Non-Citizenship Malaysian Chinese literature" establish a natural connection between "Chinese language" and southern dialects, so as to hone a unique literary language while indicating national identity? Third, Ng takes his fictions about MCP as a metaphor for the " Non-Citizenship" of Mahua literature, how to understand the discursive position and aesthetic pursuit behind it?As demonstrated in the thesis, the equation between "South" and "Diaspora" not only means Ng impoverishes his comprehension of the historical process of "vernacular literature" or modern and contemporary Chinese literature, but also limits the content of Mahua literature, making the "South" constantly ruminate the pain of colonization and diaspora. Ng writes about the collective scars of Malaysian Chinese people with the theme of MCP, which alludes to the rejection and harm of Malaysian indigenous protectionism to the Chinese. Likewise, Ng’s MCP novels also symbolize the tragic impact of the Chinese complex of the Malaysian Chinese ethnic group, thus making the MCP novels a footnote to the " non-citizenship" status of the Malaysian Chinese. However, the abstract and playful treatment of history in the novel weakens the utility of summoning empathy, and also reveals that the appeal behind the text stems from a strong subjective position. When all literature become "rewritten" and all discourses become "resistance", Ng‘s "Non-Citizenship Malaysian Chinese Literature" reaches its own limit. This conclusion inspires us to reflect on the meaning of "Sinophone" and "Southern Terroir".
