九十年代香港城市书写 ：以董启章《繁胜录》为例 = Narrating Hong Kong in 1990s : a case study of Dung Kai-Cheung’s visible city

• Main Author: 李佳文 Li, Jiawen
• Other Authors: Ting Chun Chun
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2020
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/137375
• Institution: Nanyang Technological University

关于香港的文学文本大致存在三种叙述，即殖民者视角的叙述，中国大陆国族主义视角的叙述，以及二十世纪七十年代浮现的带有香港意识的本土叙述。二十世纪八十年代中英谈判让香港人开始致力于审视本土历史，试图确认自我身份。 董启章是二十世纪九十年代的香港小说家代表之一，其作品体现香港本土意识。本文通过对《繁胜录》的细读分析，研究作者城市书写的特点，以及在九七回归前后的特定历史背景下，城市文学如何反映香港人的共同心态。 绪论介绍二十世纪九十年代香港意识产生的背景，梳理关于当时文学和电影特征的研究和讨论。第一章分析《繁胜录》卷一如何从整体性的概念出发，揭示香港的矛盾状态，以及作者如何表现香港本土意识的萌发。第二章探讨作者对于物化社会的想象以及社会批判。第三章从节日庆典的角度，关注生与死的主题在香港本土呈现的面貌。在三卷的不同侧重之下，分别分析文本如何反映出九十年代末期香港人对于九七回归主题的共同心态。 For such a long time, there have been three kinds of narrations concerning Hong Kong’s literary style as following: the narration from perspectives of colonists, nationalists in mainland China as well as the local narration with Hong Kong consciousness emerged in 1970s. Since the Sino-Britain negotiation, people in Hong Kong gradually began to focus more on their history and made attempts to identify themselves. Dung Kai-Cheung is an important Hong Kong writer in the 1990s. His works have been considered as a representation of local consciousness. This thesis is mainly written to analyze his Visible Cities through close-reading, aiming to explore the author’s fiction writing characteristics and how urban literature reflects the common mentality of people in Hong Kong under the specific historic background in the late 1990s. The introduction part will give an account of the background of Hong Kong native consciousness in the 1990s, as well as research and discussion on the characteristics of literature and film at that special period. The first chapter mainly analyses the beginning volume of Visible Cities about how the author reveals the paradoxical status of Hong Kong from the concept of integrity and depicts the germination of Hong Kong consciousness. The second chapter focuses more on the author’s imagination of materialized society and social criticism. From the perspective of festival celebration, the third chapter attaches importance to the local representation of life and death. With different emphases of three volumes, how the text reflects the common mentality of people in Hong Kong towards 1997’s return in the late 90s is analyzed respectively.