近年不乏視一九七〇年代以前馬華文學場域的「非左翼」文學生產為「民國文學」的論調，尤其是一九五五年創刊的《蕉風半月刊》上的作家作品，例如馬來西亞學者莊華興便撰有〈戰後馬華（民國）文學遺址再勘察〉等論文討論這個議題。「民國文學」一詞用在獨立後的馬來亞／馬來西亞的華文文學彙編，固然是個不無時差之嫌的指稱，不見多於洞見，但也引發我們重新思考臺馬文學關係，特別是冷戰時期以降兩地的文學交流。本文將檢視發表於《蕉風》的臺灣作家作品，描繪這些於臺灣境外的華語語系場域「在場」並「參與」了一九六〇年代華文現代主義文學運動（Sinophone Modernism）的「流動性臺灣文學文本」，詮釋它們在馬華文學系統的位置與功能。本論文認為臺馬文學關係是冷戰時期以來亞洲國際之間的「華語圈」（Sinophone sphere）裏頭文學流動、漫延（diffuse）現象的反應與反映，我們不妨以流動的文化資本視之。因此，《蕉風》一九六〇年代的編者（特別是黃崖）可以說掌握了足夠的文化資本，才能配合刊物的文藝主張與文學理念，推動華文現代主義文學思潮。

In recent years, some scholars have attempted to view Sinophone “non-left writings” produced in the Malaysian literary field before the 1970s as “Republican literature” [Minguo wenxue], a term related to the pre-1949 Republican period of Nationalist China. Specifically, the term refers to the works published in Chao Foon, a literary magazine founded in 1955 in Singapore, before and around the 1970s. However, since Malaya gained her independence from the British colonial rule in 1957, and local residents, qualified immigrants included, were granted Malayan citizenship, the term “Republican literature” becomes an obvious misnomer. Despite its inaccurate designation, such a label helps motivate the exploration of literary relations between the two Sinophone systems of Malaysian and Taiwanese Literature. Examining the works by Taiwanese writers published in Chao Foon, this paper points out that, on the one hand, the presence of these texts in the magazine reinforces the local Modernist literary repertoire. On the other hand, these texts could be regarded as the participation and diffusion of Taiwanese writers in the Modernist movement of Southeast Asian Sinophone sphere especially in the 1960s, within the Cold War framework. Moreover, with this cultural capital from Taiwan at hand, Huang Ya, the editor of Chao Foon from 1961-1969, together with Bai Yao the poet-editor, were able to launch the first wave of Modernist movement in the history of Sinophone Malaysian literature.