本文基於「東亞左翼文化走廊」之研究假設，關注1934 年底至1937 年間在即將潰 滅的走廊西端之上海文壇，東北流亡作家發揮過何種影響？在「滿洲國─上海」跨域文 藝現象中，魯迅 (1881-1936) 對蕭軍 (1907-1988)、蕭紅 (1911-1942) 的提掖，如何使 「東北流亡作家」形成一種文化象徵？其次，蕭紅由東北封建家庭與滿洲國殖民政權的 兩次出走，如何演繹了一位「出走娜拉」？最後，探討蕭紅與其他東北流亡作家的流亡 話語的差異，觀察她為「哈爾濱─上海」走廊所注入的話語資源，以及在「上海─東 京」走廊上，與日本進步分子鹿地亙 (1903-1982)、小田嶽夫 (1900-1979)、矢崎彈 (1906-1946) 等人進行的跨文化實踐。

Based on the idea of an “East Asia left-wing corridor,” this study focuses on the influence of Northeastern Chinese writers in exile on the left wing school of literature in Shanghai, the east end of the collapsing corridor, between the end of 1934 and 1937, before the outbreak of the Second Sino-Japanese War. It investigates: How did Lu Xun’s魯迅 (1881-1936) promotion of Xiao Jun 蕭軍 (1907-1988) and Xiao Hong 蕭 紅 (1911-1942) turn “Northeastern Chinese writers in exile” into a cultural symbol in the “Manchukuo-Shanghai” cross-border cultural phenomenon? In addition, how did Xiao Hong interpret the image of “Nora leaving home” when she left both her feudal family in Northeast China and the colonial regime of Manchukuo? Finally, the study explores the differences of the exile discourses between Xiao Hong and other Northeastern Chinese writers in exile, observes the discourse resources she injected into the “Harbin-Shanghai” corridor, and examines the cross-cultural practice conducted by Japanese activists Wataru Kaji (1903-1982), Dan Yazaki (1906-1946), and others in the “Shanghai-Tokyo” corridor.