由於特定的歷史環境，澳門成為“後殖民”語境的一個典型個案，它既保持了東方特 色，又自覺地堅守其民族和文化身份，這些特質塑造了澳門文學自身的獨特性。“過渡期”的歷 史契機喚起澳門對“中國性”的強調。澳門文學界重視中國文化傳統，並有“溫和”的特質。然 而，在此過程中，亦存在着東西方的二元對立模式，透露出東方的焦慮。在文學場域中審視回 歸，無法清晰地找到一個相關的歷史節點或文化“標記”。澳門文化的邊緣性、複合性、相容 性，使澳門文學從誕生之日起便具備了強大的文化認同功能，其邊緣地位迫使澳門（華文）文 學在20 世紀80 年代初便開始尋求自我形象的建構。在此情況下，文學主體對“回歸”後澳門文 學的淵源之重新確認，都沒有與20世紀30年代以來的文學觀念形成異質性對立，而是一種“承 接”和“開拓”。“回歸”作為21 世紀澳門文學討論的起點，這條模糊的地平線並不意味着澳 門文學就此告別過去，踏上一條平坦的道路。

Macau has become a typical case of the postcolonial context due to the specific historical situation. It keeps the characteristics of the East, consciously adhering to its national and cultural identity, and also treats the western culture with an open and tolerant attitude. These characteristics shape the uniqueness of Macau literature in its own right. The transitional history has aroused Macau’s emphasis on Chinese nature. The world of Macau literature pays special attention to the traditions of Chinese culture and it is characterized as moderate. The model of binary oppositions between the East and the West, however, exist during this process, revealing the anxiety of the East. To review the Handover in the field of literature, a relevant historical joint or cultural mark can never be found. The marginality, complexity and compatibility of the Macau culture equip the Macau literature from its start with the powerful function of cultural recognition. Macau’s marginal status forces its literature to seek self-image construction at the start of the 1980s. In this case, the cultural subjectivity’s reconfirming of the originality of Macau literature after the handover has not formed heterogeneous opposition to the literary concept since the 1930s. It is more a kind of inheritance and expansion than tearing down and reconstruction. Nevertheless, this blurred horizontal line – the handover, as the starting point of the discussion of Macau literature in the 21st century – does not mean that Macau literature has said goodbye to the past and moves on to a smooth road.