本文從劉以鬯的小說進入，思考五零年代南來文人香港認同的建構。過去的劉以鬯研究大多肯定他對香港文學本土性的積極貢獻，但筆者認為，考察香港主體建構時應同時關注其「外來」成分。本文將指出劉以鬯如何以「南洋」與「上海」的視角，開啟他對香港的認同與反思。劉以鬯作為香港文學的重要推手，他香港敘事中的他者為我們提供不一樣的「本土」想像，更為華文文學創作提供了積極的可能性。本文第一部分將會分析劉以鬯的南洋敘事。劉以鬯早期以寫實手法勾勒出的南洋圖景，同時為馬來亞與香港提供了認同本土的契機。在他後期小說裡的南洋經常和香港對舉，南洋一方面成為救贖香港的「機器神」，另一面逼現出更細膩的香港印象。本文第二部分則藉由分析劉以鬯《酒徒》，說明他對上海新感覺派的繼承與轉化。面對陌生的香港都市，《酒徒》中的敘事者借用上海的「視覺化表述」來進行觀看與批評，過程中卻從觀察者變為城市的一份子。這種觀看視野的轉變，開啟了南來文人香港認同的先兆。

Focusing on Liu Yichang's novels, this article revisits the identity built by migrant-intellectuals of Hong Kong in the 1950s. Past studies on Liu's works mostly acknowledged his contributions to the building of local identity in Hong Kong's literature, but I propose that his migration experiences in Nanyang and Shanghai also played crucial roles on this issue. As an important figure in Hong Kong literature, Liu's identity shift and the representation of ＂others＂ in his writings provided a different imagination of ＂locality＂, and opens up further possibilities in the field of Sinophone writing. The first part of my article is an analyzation of Liu's Nanyang narrative. He often used the realism approach to describe the landscape of Nanyang in his early works, and they provided immigrants in both Nanyang and Hong Kong opportunities to immerse in local society. After which, his works became more inclined to comparing Nanyang with Hong Kong, making Nanyang a ＂Deus ex machine＂ to the dilemma of Hong Kong, and created an even more exquisite image of Hong Kong at the same time. The second part of this article rereads Liu's masterpiece The Drunkard (酒徒) and will explain his inheritance and transformation of Shanghai's Neo-Sensationism writers. As a new immigrant from Shanghai, the narrator of The Drunkard observes and criticizes the city of Hong Kong using the typical ＂visual representation＂ technique by Neo-Sensationism's writers, and then realizes that he had already become part of the city in the process. This change of observation viewpoint had foreseen the identity shift of Hong Kong migrants-intellectuals.