1956年3月馬朗（1933- ）主持的《文藝新潮》創刊，由此掀起了二十世紀五、六十年代香港的「現代主義文學運動」。這一運動後來經由崑南（1935- ）接棒，先後組織「文學美術協會」，創辦《新思潮》、《好望角》等文藝刊物，影響更波及台灣的現代主義思潮。本文先從《文藝新潮》、「現代文學美術協會」、《好望角》幾篇重要的宣言式文獻入手，並與台灣大概同時的相類文獻比較，剖析其間的「宣言的詩學」；再根據各篇「宣言」所展示的時代脈絡，解讀六十年代香港一位重要批評家李英豪（1941- ）的文學評論，辨析其「新批評」的論述資源，以及這些論述與「香港現代主義運動」相關聯的文化政治以至國族想像。

In March 1956 Ma Lang (1933- ) launched the periodical New Tides of Literature and Arts, which unveiled the “Hong Kong Modernist Movement” in the 1950s and 1960s. Following Ma Lang’s footsteps, Kun Nan (1935- ) established the “Society of Literature and Fine Arts,” published the periodicals New Tides of Thoughts and Cape of Good Hope, which propelled the impact of Modernism in literary circles of Hong Kong and Taiwan. This paper examines the discursive power of several “manifestos” of the Hong Kong Modernism written by Ma Lang and Kun Nan, and compares them with similar treatises in Taiwan. Contextualized with the social and cultural milieu of these “manifestos,” the paper further investigates the literary criticism of Li Yinghao (1941- ), a shining critic among his contemporaries, but very much forgotten nowadays. He is one of the most important critics in Hong Kong who brings into the Sinophone world literary thoughts and critical apparatus of western modernism and Anglo-American New Criticism. It is found that his mode of “apolitical” modernism and new criticism is in fact weaved in peculiar ways with cultural politics and national imaginaries in the 1950s and 1960s.