戰後，馬華文藝獨特性的創作口號在殖民政府緊急法令頒佈後，幾乎更澄清了馬華文學必然得拋開僑民意識的路向。及時創建本地文化就成了馬華書寫積極的意義，進步的作家，歷史學家，批評家都強調獨特的馬來亞經驗，使「1945 年的一代」幾乎成為馬華（新）文學黃金的一代。與此同時，南洋學人對東南亞一帶作了相當多的歷史敘事，學歷史的魯白野也在這些歷史敘事中出版了三本散文「紀事」──《獅城散記》、《馬來散記》、續《馬來散記》（統稱《散記》）。有別於其它，這幾本「紀事」帶有它作為一個旅人的抒情意識。從這些主觀情感中我們體會到其中自我認知和身份重構的痕跡，亦即一個動態的人物與社會之間的互動形態構成的歷練／史。正如盧卡奇在二十世紀初思索寫實的迫切意義，這種以個人的動態緊緊與社會依附的過程就是寫實（敍述），而書寫中「沒有一種『技巧』脫離得了社會──歷史的和個人的制約」，魯白野《散記》裡的抒情意識蕴含這样的「制約」──或者更貼切一點，可稱為經驗／歷練，身體力行把作為公民的「獨特性」表現，從個人與社會的「制約」中窺探已然從各個民族傳統跳脫出來的（現代）文化。當然也不能忽略魯白野詩與小說中的「幻滅浪漫」，如何作爲寫實過渡到現代的緩衝。本文嘗試以盧卡奇對內在和外在寫實的「完整」形式解釋魯在紀實和虛構中看似兩種極端卻又一貫的風格。全文主體分三節。首先用盧卡奇現實主義思考南洋華語書寫的寫實。第二節認識魯白野其人並探討其風格。第三節嘗試從文本淺釋魯白野《散記》的旅行敘事與意義。

After 2nd world war, Chinese literature in Malaya look forward to a ‘unique performance’ of their own, especially after the promulgation of Malayan Emergency of the colonial government, which almost clarified the way in which Malaya Chinese literature must be set aside from ‘diaspora consciousness’. Creating local culture in time has become a positive sign in Chinese writing in Malaya. Progressive writers, historians, and literature critics have emphasized the unique Malayan experience, making the ‘1945 generation’ almost a golden generation of Malaya Chinese (newborn) literature. At the same time, Nanyang scholars made a lot of historical narratives of the Southeast Asian region. Lu Bai Ye, who studied as a historian, published three ‘Chronicles Prose’ as well. These three books name as Sketches of The Lion City, Sketches of Malaya, Continuation Sketches of The Malaya. Perhaps because of Lu Bai Ye experience as a poet and novelist, these ‘Chronicles Prose’ carry its lyrical consciousness as a affectionate traveler, which is different from others. From these subjective emotions, we experience the traces of self-cognition and identity reconstruction, which shown the experience / history of a dynamic form of interaction between individual and society. Just as Lukács, a Hungarian Marxist philosopher thought about the urgency of realism in the early twentieth century, realism (narrative) means the process of the personal dynamics that’s tightly attaching with his society, and ‘no writing skill’ should avoid from society, historical and personal restriction. I felt this ‘restriction’ in the lyrical consciousness in Lu Baiye’s three ‘Chronicles Prose’, perhaps more appropriately, this ‘restriction’ can be called ‘experience’. The ‘restriction’ of society is a glimpse of the (modern) culture that has escaped from the traditions of various nationalities. Of course, we cannot ignore how the ’romantic disillusionment ’in Lu Bai Ye’s poems and novels serves as a buffer for the transition from realism to modernity. This article attempts to explain Lu Bai Ye’ two different but seemingly consistent styles in documentary and fiction in the “complete” form of Lukacs’ internal and external realism. The full text is divided into three chapters. First, consider the realism of Nanyang Chinese writing with Lukacs realism. The second chapter understanding Lu Bai Ye and his style. The third chapter attempts to explain the travel narrative and significance of Lu Bai Ye’s ‘Chronicles Prose’ from the text.