香港混杂百年史 ：香港文学及文化中的 “鸳鸯” 意象 = The history of hybridity : the study of “Yuen Yeung” imagery in Hong Kong's literature and culture

• Main Author: 林涵清 Lin, Han Qing
• Other Authors: Kwan Sze Pui Uganda
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2022
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/155702
• Institution: Nanyang Technological University

“鸳鸯”在传统文化代表的是一对成双成对的鸳鸯，意寓着永远的爱情。鸳鸯 蝴蝶派是中国现代文学中重要的流派之一，它继承了传统文化中喻意为爱情的“鸳鸯” 意象，是大众文学的分支。二十一世纪以降，中国现代新文学运动的种子在香港发芽， 香港文学与文化不单继承了大量中国文学的遗产，香港作家及文化工作者更大量使用 “鸳鸯”意象，令这意象在香港文学文化中，产生了多样的象征意涵。“鸳鸯”喻指 的不中不西，中西交汇，后来成为了香港文化身份认同混杂的象征，“鸳鸯”是香港 社会的文化特色及缩影。 香港以“鸳鸯”命名的作品众多，它们都以其独特的视角探讨香港人的行为及 心理表征。“鸳鸯”这意象，在香港的不同时空背景下，亦有所变迁:1961 年金庸的 小说《鸳鸯刀》以鸳鸯刀的秘密“仁政”道出政治的悲哀、1988 年张坚庭的电影《亡命鸳鸯》创造了一个危机四伏的空间，在香港 1997 年回归的倒数下，把“鸳鸯”困在 其中。1997 年也斯的诗《鸳鸯》以香港饮品“鸳鸯”(一杯咖啡和红茶混合而成的饮料)歌颂香港身份认同混杂的美学，“鸳鸯”是流动的，也是与时俱进的，“鸳鸯” 的美在于它说不清复杂的味道及独特的口感。2020 年马家辉的小说《鸳鸯六七四》里 的“鸳鸯”则具有多重意象:“鸳鸯”是反传统的，是残缺的，是二合为一，也是对 传统“鸳鸯”意象的寄托。本文将对香港“鸳鸯”命名的文本进行深入分析，探索香 港“鸳鸯”意象在不同时空和空间中的多面性，以此展现香港文化的深层特色——混 杂与多元的美学。In Chinese traditional culture, “Yuen Yeung” represents a pair of mandarin ducks，a symbol of forever love between couples. The Mandarin Ducks and Butterflies school was one of the most important school of thought in Chinese modern literature, it inherited the culture symbol of “Yuen Yeung” that represents love, it is also a common genre in Chinese popular literature. Since the twenty-first century, the Chinese New Culture Movement had emerged in Hong Kong, Hong Kong literature and culture had inherited cultural heritage from Chinese Literature. Hong Kong writers and cultural professionals also used the imagery of “Yuen Yeung” in their works extensively, this has made Hong Kong’s “Yuen Yeung” imagery to have multiple meanings. “Yuen Yeung” does not belong to the East or the West, it is the cultural mix of both worlds, it emerges as the cultural symbol of Hong Kong’s hybrid identity. “Yuen Yeung” is also a distinct cultural characteristic of Hong Kong and served as a manifestation of Hong Kong’s society. There are many works in Hong Kong that named after “Yuen Yeung”, these works discussed Hong Kong people’s physical and psychological behaviours through their unique interpretation of “Yuen Yeung”. Jin Yong’s novel Mandarin Duck Blades (1961) used the secret of Mandarin Duck Blades as a political metaphor, benevolence was the guiding principle of the state and yet it remained a utopian ideal. Alfred Cheung’s movie On the Run (1988) created a dangerous and uncertain space, under the context of 1997 Hong Kong’s handover to China, the couple “Yuen Yeung” were trapped in time and space. Leung Ping-kwan’s poem Tea-coffee (1997) used the imagery of Hong Kong’s popular drink “Yuen Yeung”, to praise the hybrid identity of Hong Kong people, that is fluid in nature, advances with time, and its beauty lies in its unique and complex taste. In Ma Ka Fai’s novel Once Upon A Time In Hong Kong II (2020), “Yuen Yeung” imagery was discussed on multiple dimensions, Ma’s representation of “Yuen Yeung” goes against the traditional culture symbol of “Yuen Yeung”, it is incomplete, and yet shows the longing and determination for traditional cultural symbol of “Yuen Yeung”. This paper seeks to analyse the different works that were named after “Yuen Yeung”, so as to gain critical insights on the multifaceted nature of “Yuen Yeung” imagery in Hong Kong across time and space, and to show the beauty of Hong Kong’s culture, that lies in its hybridity and diversity.