别样的书写
摘要
香港女作家西西的小说目前已引起台港学者的普遍关注,许多大陆学者也开始研究她的作品。本文拟从都市风情、儿童视角、女性意识、本土意识四个方面对西西的作品进行疏理和分析。
首先从文化历史视野的角度论述了西西的小说叙述所体现出来的对香港城市命运的关注以及她作品中的民俗意蕴,然后从儿童视角、女性视角的角度论述了西西小说中的都市观照,并指出儿童视角的叙述可给作品带来一种陌生化的效果,西西就是运用儿童视角的叙述来营造一个与现实世界所不同的世界,以此达到对成人世界的批判效果。最后论述了西西作品中的历史语境与本土意识的冲突,以此来探讨西西笔下的香港处境与香港意识。
The works of Hongkong female writer xixi’s are very experimental in style and are the mature representative in Hongkong and Marcau go beyond mainland. In a certain sense,she enlarges the expressing ability of Chinese language. In her novels there is unforgetable hard experience, but adding of Hongkong and it’s a distant observation and quiet description. So Xixi is generally acknowledged as a valuble novelist. This essay will discuss her characteristic of the city description in her novels.
The first part is a discussion of Xixi’s description of Hongkong in cultuer and historical perspective. Many of Xixi’s novels regard Hong Kong as the most basic target of demands and the aesthetic object, in her several novels about cities,such as "flying carpet", "My Town," "Floating City ", all of them express the overall feel of the city of Hong Kong by the use of fairy tales and fantasy approach, in order to express her concern about the fate of Hong Kong. At the same time, Xixi is accustomed to looking at the perspective of Hong Kong from the perspective of civilians and demonstrates the unique landscape and customs of life from different sectors of Hong Kong.It is these descriptions that make us observe different life status in Hong Kong, and the social reality ---Hong Kong has combined native with foreign things, put East and West together, and fish-mixed.
The materials are from lives of Hongkong, unfold the city life style, human feelings, history and experience.The stories are in the people’s view of Hongkong, using the languages of the people in Hongkong, reflecting the human landscape of the city and moulding the image of the city. This is the stipulation of the city nature in her works.
The second part is about Xixi’s city observation in children’s views in her works. It makes her works interesting and imginative by using the language of children, fables and material of children. This not only makes her works fresh, but also enlarges the space of the expression, reaches the theme of the culture critics. On this basis, Xixi also has her own unique skills: the transformation of the fairy-tale materials. In the novel through the transformation she expands the contents of the performance of work space. A children's perspective creation depends on Xixi’s optimistic vision of the world, reflects Xixi’s narrative stance towards Hong Kong "My City". Born in Shanghai but brought up in Hong Kong, Xixi dosen’t like watching the dark side of society like some other writers. In her novel,she calls Hong Kong "My city," "Our Town" and and holds a love and acceptatle, understandable attitude towards the city,and fully expresss the narrative theme"I Love You Hong Kong" .
The third part deals with the female perspective .Look at Xixi’works about Hong Kong: Short stories"the Story of Feitu Town", "Floating City " and " Huilan History of Feitu town ", "Curse of the Town" and novels "My Town" or "Flying Carpet" are recognized masterpieces. They interpret certain common aspects of Hong Kong, They have been coloured by Xixi the distinctive characteristics of a female writer. Hong Kong is feminization. It is established on the female perspective and experience . It is made into fiction from the perspective of women.Her works has been increasingly in literary classics in Hong Kong, to some extent, it also embodies the higher literary achievements of Hong Kong. This is a general public statement in the bottom of society ,standing on its own territory and establishing on the basis of deep love in the local community . It can be called truly a female writer of "the edge of the edge" abiut Hong Kong,and provides new possibilities of interpreting Hong Kong for us from another angle.
The fourth part discusses the conflict between historical context and native sense in her works. Native sense is a characteritcs in her novels. The novel she wrote in 1970s, 1980sand 1990s about Hongkong increased more culture acceptance and feeling of“my land I love”than those in 1950s and 1960s. undoultedly it is a reflection in literature of the end of colonial rule, economic transformation and political transition in Hongkong society. In the minds of Xixi,Hong Kong is a home, as a city, it has brightness and darkness, good and evil. And Xixi doesn’t understand that life of the city in the form of either brightness and good or darkness and evil.
On the contrary, Xixi describes this city in the view of an understanding, tolerance and acceptance . Xixi devotes herself to it calmly, understand and seek the city of Hong Kong vigorously, in order to seek the understanding of reality order and try to restore the original ecological urban life scenes, which are due to the position of her homeland.
Literature influences each other with the development of society. It is a question worthy of consideration that how to maintain the characteritic of individual writer and it is the responsibility of every reasercher in literature. To a certain extent, study on Hong Kong Literature has provided us an opportunity of adjusting the horizon and way of thinking, which has the practical significance for current culture, literature and research .
首先从文化历史视野的角度论述了西西的小说叙述所体现出来的对香港城市命运的关注以及她作品中的民俗意蕴,然后从儿童视角、女性视角的角度论述了西西小说中的都市观照,并指出儿童视角的叙述可给作品带来一种陌生化的效果,西西就是运用儿童视角的叙述来营造一个与现实世界所不同的世界,以此达到对成人世界的批判效果。最后论述了西西作品中的历史语境与本土意识的冲突,以此来探讨西西笔下的香港处境与香港意识。
The works of Hongkong female writer xixi’s are very experimental in style and are the mature representative in Hongkong and Marcau go beyond mainland. In a certain sense,she enlarges the expressing ability of Chinese language. In her novels there is unforgetable hard experience, but adding of Hongkong and it’s a distant observation and quiet description. So Xixi is generally acknowledged as a valuble novelist. This essay will discuss her characteristic of the city description in her novels.
The first part is a discussion of Xixi’s description of Hongkong in cultuer and historical perspective. Many of Xixi’s novels regard Hong Kong as the most basic target of demands and the aesthetic object, in her several novels about cities,such as "flying carpet", "My Town," "Floating City ", all of them express the overall feel of the city of Hong Kong by the use of fairy tales and fantasy approach, in order to express her concern about the fate of Hong Kong. At the same time, Xixi is accustomed to looking at the perspective of Hong Kong from the perspective of civilians and demonstrates the unique landscape and customs of life from different sectors of Hong Kong.It is these descriptions that make us observe different life status in Hong Kong, and the social reality ---Hong Kong has combined native with foreign things, put East and West together, and fish-mixed.
The materials are from lives of Hongkong, unfold the city life style, human feelings, history and experience.The stories are in the people’s view of Hongkong, using the languages of the people in Hongkong, reflecting the human landscape of the city and moulding the image of the city. This is the stipulation of the city nature in her works.
The second part is about Xixi’s city observation in children’s views in her works. It makes her works interesting and imginative by using the language of children, fables and material of children. This not only makes her works fresh, but also enlarges the space of the expression, reaches the theme of the culture critics. On this basis, Xixi also has her own unique skills: the transformation of the fairy-tale materials. In the novel through the transformation she expands the contents of the performance of work space. A children's perspective creation depends on Xixi’s optimistic vision of the world, reflects Xixi’s narrative stance towards Hong Kong "My City". Born in Shanghai but brought up in Hong Kong, Xixi dosen’t like watching the dark side of society like some other writers. In her novel,she calls Hong Kong "My city," "Our Town" and and holds a love and acceptatle, understandable attitude towards the city,and fully expresss the narrative theme"I Love You Hong Kong" .
The third part deals with the female perspective .Look at Xixi’works about Hong Kong: Short stories"the Story of Feitu Town", "Floating City " and " Huilan History of Feitu town ", "Curse of the Town" and novels "My Town" or "Flying Carpet" are recognized masterpieces. They interpret certain common aspects of Hong Kong, They have been coloured by Xixi the distinctive characteristics of a female writer. Hong Kong is feminization. It is established on the female perspective and experience . It is made into fiction from the perspective of women.Her works has been increasingly in literary classics in Hong Kong, to some extent, it also embodies the higher literary achievements of Hong Kong. This is a general public statement in the bottom of society ,standing on its own territory and establishing on the basis of deep love in the local community . It can be called truly a female writer of "the edge of the edge" abiut Hong Kong,and provides new possibilities of interpreting Hong Kong for us from another angle.
The fourth part discusses the conflict between historical context and native sense in her works. Native sense is a characteritcs in her novels. The novel she wrote in 1970s, 1980sand 1990s about Hongkong increased more culture acceptance and feeling of“my land I love”than those in 1950s and 1960s. undoultedly it is a reflection in literature of the end of colonial rule, economic transformation and political transition in Hongkong society. In the minds of Xixi,Hong Kong is a home, as a city, it has brightness and darkness, good and evil. And Xixi doesn’t understand that life of the city in the form of either brightness and good or darkness and evil.
On the contrary, Xixi describes this city in the view of an understanding, tolerance and acceptance . Xixi devotes herself to it calmly, understand and seek the city of Hong Kong vigorously, in order to seek the understanding of reality order and try to restore the original ecological urban life scenes, which are due to the position of her homeland.
Literature influences each other with the development of society. It is a question worthy of consideration that how to maintain the characteritic of individual writer and it is the responsibility of every reasercher in literature. To a certain extent, study on Hong Kong Literature has provided us an opportunity of adjusting the horizon and way of thinking, which has the practical significance for current culture, literature and research .
引文
[1][2]艾晓明:《我喜欢西西》,广州:《南方周末》,2001-7-26,转引自 http://www.ccnt.com.cn。
[3]郑树森:《读西西小说的随想》,三联书店 1992 年版,第 371 页,转引自凌逾:《西西研究的新路向》,《第二届世界华文文学高峰论坛专辑》,2007.3。
[4]艾晓明:《文本到彼岸》,广州:广州出版社,1998 年版,第 32 页。
[5]王瑞华:《殖民与先锋:中国痛苦》,社会科学文献出版社,2007 年7 月第 1 版,封底。
[6]西西:《飞氈》台湾：洪范书店出版社 1996 年版,封内提要。
[7]http://bbs.amcisa.org/index.php?act=st
[8][22]王瑞华:《西西:都市焦虑与童话救赎》,《华文文学》,2007.3。
[9][21]转引自王瑞华:《西西:都市焦虑与童话救赎》,《华文文学》,2007.3。
[10][11][13][14][15][30][31]西西:《飞毡》,台湾:洪范书店有限公司,1996 年版,第 39 页、第 105 页、序第 1 页、序第 2 页、第 59 页、第 47 页、第 48 页、。
[12][19]卡尔维诺:《未来千年备忘录》, 杨德友译,香港:社会思想出版社, 1994 年 8 月第 1 版, 第 6 页,转引自艾晓明:《香港作家西西的童话小说》,《文学评论》,1997 年第 3 期。
[16]何福仁:《童话小说――与西西谈她的小说及其他》,何福仁编《香港文丛·西西卷》,三联书店(香港)有限公司,1992 年 6 月版,转引自赵稀方《本土意识与文学形式》,《评论和研究》,1997.2。
[17][18]http://cnread.net/cnreadl/gtzp/x/xixi/000/001.htm.
[20][23][24][27][32]西西:《我城》,洪范书店有限公司,1999年版, 第 6 页、第 195 页、第 235 页、第 195 页、第 188 页。
[25][26]http://cnread.net/cnreadl/gtzp/x/xixi/000/003.htm.
[28][29]蔡益怀硕士论文:《八、九十年代香港小说中的“香港形象”与叙事范式》 2005.5。
[33]苏珊·朗格:《艺术问题》,中国社会科学出版社,1983 年版,第67 页。
1.马克思、恩格斯:《马克思恩格斯选集(第 3 卷)》,北京:人民出版社,1972 年版。
2.苏珊·朗格:《艺术问题》,中国社会科学出版社,1983 年版。
3.王德威:《想象中国的方法》,北京:三联书店,1991 年版。
4.西西、何福仁:《时间的对话集》,香港:素葉出版社,1995 年 10月版。
5.西西:《飞氈》，香港：洪范书店出版社，1996 年版。
6.田锐生:《台港文学主流》,河南大学出版社,1996 年 4 月第 1 版。
7.刘登翰:《香港文学史》,香港:香港作家出版社,1997 年版。
8.西西:《我城》,台北: 洪范书店有限公司,1999 年版。
9.洪子诚:《问题与方法》,生活·读书·新知三联书店出版社,2002年 8 月第 1 版。
10.赵稀方:《小说香港》,生活·读书·新知三联书店出版社,2003年 5 月第 1 版。
11.尉天骄:《台港文学名家名作鉴赏》,北京大学出版社,2003 年 9月第 1 版。
12.陈思和:《不可一世论文学》,人民文学出版社,2003 年 12 月第1 版。
13.钱理群、黄子平、陈平原:《二十世纪中国文学三人谈·漫说文化》,北京大学出版社,2004 年 8 月第 1 版。
14.许子东:《呐喊与流言》,上海文艺出版社,2004 年 10 月第 1 版。
15.夏志清:《中国现代小说史》,复旦大学出版社,2005 年版。
16.江少川:《台港澳文学论稿》,北京大学出版社,2005 年 4 月第 1版。
17.蔡益怀:《想象香港的方法》,中国社会科学出版社,2005 年 6月第 1 版。
18.王瑞华:《殖民与先锋:中国痛苦》,社会科学出版社,2006 年 7月第 1 版。
19.朱文斌:《世界华文文学研究》(第三辑),安徽大学出版,2006年 12 月第 1 版。
20.熊家良:《现代中国的小城文化与小城文学》,中国社会科学出版社,2007 年 6 月第 1 版。
21.杨宏海:《全球化语境下的当代都市文学》,社会科学文献出版社, 2007 年 8 月第 1 版。
22.计红芳:《香港南来作家的身份建构》,中国社会科学出版社,2007年 8 月第 1 版。
1.郑树森:《读西西小说随想》,《台港文学选刊》,1991 年第 3 期。
2.西西:《哀悼乳房》,《台港文学选刊》,1991 年第 3 期。
3.颜敏:《象这样一个女人—侧写西西》,《台港文学选刊》,1991 年第 3 期。
4.西西:《寻找胡利亚》,《联合文学》,1993 年第 1 期。
5.西西:《家族日志》,《联合文学》,1993 年第 1 期。
6.黃维梁:《香港文学的发展》,《現代中文文学评论》(半年刊),1994年第 2 期。
7.任一鸣:《香港女性文学概观》,《新疆师范大学学报(哲学社会科学版)》,1995 年第 4 期。
8.黃维梁:《像她这样的一个姑母》,《华文文学》,1996 年第 1 期。
9.孙永超:《第三只眼或者别一种角度:窥探西西作品中的一个惯用视角》,《上海大学学报》,1996 年 5 月。
10.荒林、丁炎:《论性别虚构》,《浙江师范学院学报(哲学社会科学版)》,1999 年第 1 期。
11.凌逾:《“括号”蒙太奇新文体》,《华文文学》,1999 年第 1 期。
12.颜纯钧:《城市的精神脉膊》,《港台小说研究》,1999 年第 1 期。
13.盛莉:《20 世纪香港女性小说发展评述》,《齐齐哈尔大学学报(哲学社会科学版)》,1999 年第 1 期。
14.古远清:《香港文学研究在香港》,《贵州社会科学学报》,1999年第 1 期。
15.王琪:《从蒙昧到杀夫》,《中山大学学报论丛》,1999 年第 6 期。
16.周福如:《香港现代派小说的城市背景与文化话语》,《中国文化研究》,2001 年第 4 期。
17.许子东:《二十世纪九十年代香港小说与“香港意识”》,《清华大学学报(哲学社会科学版)》,2001 年第 6 期。
18.罗岗:《“文学香港”与都市文化认同》,《杭州师范学院学报》,2002 年第 1 期。
19.赵稀方:《香港的情与爱――回归前的小说叙事与欲望》,《当代作家评论》,2003 年第 5 期。
20.王德威:《香港的情与爱――回归后的小说叙事与欲望》,《当代作家评论》,2003 年第 5 期。
21.思宁:《华文文学世界的奥斯卡》,《文学报》,2006 年 1 月 26 日。
22.凌逾:《向现代电影越界的新小说—以西西〈东城故事〉的文体创意为例》,《华南师范大学学报》,2006 年第 3 期。
[3]郑树森:《读西西小说的随想》,三联书店 1992 年版,第 371 页,转引自凌逾:《西西研究的新路向》,《第二届世界华文文学高峰论坛专辑》,2007.3。
[4]艾晓明:《文本到彼岸》,广州:广州出版社,1998 年版,第 32 页。
[5]王瑞华:《殖民与先锋:中国痛苦》,社会科学文献出版社,2007 年7 月第 1 版,封底。
[6]西西:《飞氈》台湾：洪范书店出版社 1996 年版,封内提要。
[7]http://bbs.amcisa.org/index.php?act=st
[8][22]王瑞华:《西西:都市焦虑与童话救赎》,《华文文学》,2007.3。
[9][21]转引自王瑞华:《西西:都市焦虑与童话救赎》,《华文文学》,2007.3。
[10][11][13][14][15][30][31]西西:《飞毡》,台湾:洪范书店有限公司,1996 年版,第 39 页、第 105 页、序第 1 页、序第 2 页、第 59 页、第 47 页、第 48 页、。
[12][19]卡尔维诺:《未来千年备忘录》, 杨德友译,香港:社会思想出版社, 1994 年 8 月第 1 版, 第 6 页,转引自艾晓明:《香港作家西西的童话小说》,《文学评论》,1997 年第 3 期。
[16]何福仁:《童话小说――与西西谈她的小说及其他》,何福仁编《香港文丛·西西卷》,三联书店(香港)有限公司,1992 年 6 月版,转引自赵稀方《本土意识与文学形式》,《评论和研究》,1997.2。
[17][18]http://cnread.net/cnreadl/gtzp/x/xixi/000/001.htm.
[20][23][24][27][32]西西:《我城》,洪范书店有限公司,1999年版, 第 6 页、第 195 页、第 235 页、第 195 页、第 188 页。
[25][26]http://cnread.net/cnreadl/gtzp/x/xixi/000/003.htm.
[28][29]蔡益怀硕士论文:《八、九十年代香港小说中的“香港形象”与叙事范式》 2005.5。
[33]苏珊·朗格:《艺术问题》,中国社会科学出版社,1983 年版,第67 页。
1.马克思、恩格斯:《马克思恩格斯选集(第 3 卷)》,北京:人民出版社,1972 年版。
2.苏珊·朗格:《艺术问题》,中国社会科学出版社,1983 年版。
3.王德威:《想象中国的方法》,北京:三联书店,1991 年版。
4.西西、何福仁:《时间的对话集》,香港:素葉出版社,1995 年 10月版。
5.西西:《飞氈》，香港：洪范书店出版社，1996 年版。
6.田锐生:《台港文学主流》,河南大学出版社,1996 年 4 月第 1 版。
7.刘登翰:《香港文学史》,香港:香港作家出版社,1997 年版。
8.西西:《我城》,台北: 洪范书店有限公司,1999 年版。
9.洪子诚:《问题与方法》,生活·读书·新知三联书店出版社,2002年 8 月第 1 版。
10.赵稀方:《小说香港》,生活·读书·新知三联书店出版社,2003年 5 月第 1 版。
11.尉天骄:《台港文学名家名作鉴赏》,北京大学出版社,2003 年 9月第 1 版。
12.陈思和:《不可一世论文学》,人民文学出版社,2003 年 12 月第1 版。
13.钱理群、黄子平、陈平原:《二十世纪中国文学三人谈·漫说文化》,北京大学出版社,2004 年 8 月第 1 版。
14.许子东:《呐喊与流言》,上海文艺出版社,2004 年 10 月第 1 版。
15.夏志清:《中国现代小说史》,复旦大学出版社,2005 年版。
16.江少川:《台港澳文学论稿》,北京大学出版社,2005 年 4 月第 1版。
17.蔡益怀:《想象香港的方法》,中国社会科学出版社,2005 年 6月第 1 版。
18.王瑞华:《殖民与先锋:中国痛苦》,社会科学出版社,2006 年 7月第 1 版。
19.朱文斌:《世界华文文学研究》(第三辑),安徽大学出版,2006年 12 月第 1 版。
20.熊家良:《现代中国的小城文化与小城文学》,中国社会科学出版社,2007 年 6 月第 1 版。
21.杨宏海:《全球化语境下的当代都市文学》,社会科学文献出版社, 2007 年 8 月第 1 版。
22.计红芳:《香港南来作家的身份建构》,中国社会科学出版社,2007年 8 月第 1 版。
1.郑树森:《读西西小说随想》,《台港文学选刊》,1991 年第 3 期。
2.西西:《哀悼乳房》,《台港文学选刊》,1991 年第 3 期。
3.颜敏:《象这样一个女人—侧写西西》,《台港文学选刊》,1991 年第 3 期。
4.西西:《寻找胡利亚》,《联合文学》,1993 年第 1 期。
5.西西:《家族日志》,《联合文学》,1993 年第 1 期。
6.黃维梁:《香港文学的发展》,《現代中文文学评论》(半年刊),1994年第 2 期。
7.任一鸣:《香港女性文学概观》,《新疆师范大学学报(哲学社会科学版)》,1995 年第 4 期。
8.黃维梁:《像她这样的一个姑母》,《华文文学》,1996 年第 1 期。
9.孙永超:《第三只眼或者别一种角度:窥探西西作品中的一个惯用视角》,《上海大学学报》,1996 年 5 月。
10.荒林、丁炎:《论性别虚构》,《浙江师范学院学报(哲学社会科学版)》,1999 年第 1 期。
11.凌逾:《“括号”蒙太奇新文体》,《华文文学》,1999 年第 1 期。
12.颜纯钧:《城市的精神脉膊》,《港台小说研究》,1999 年第 1 期。
13.盛莉:《20 世纪香港女性小说发展评述》,《齐齐哈尔大学学报(哲学社会科学版)》,1999 年第 1 期。
14.古远清:《香港文学研究在香港》,《贵州社会科学学报》,1999年第 1 期。
15.王琪:《从蒙昧到杀夫》,《中山大学学报论丛》,1999 年第 6 期。
16.周福如:《香港现代派小说的城市背景与文化话语》,《中国文化研究》,2001 年第 4 期。
17.许子东:《二十世纪九十年代香港小说与“香港意识”》,《清华大学学报(哲学社会科学版)》,2001 年第 6 期。
18.罗岗:《“文学香港”与都市文化认同》,《杭州师范学院学报》,2002 年第 1 期。
19.赵稀方:《香港的情与爱――回归前的小说叙事与欲望》,《当代作家评论》,2003 年第 5 期。
20.王德威:《香港的情与爱――回归后的小说叙事与欲望》,《当代作家评论》,2003 年第 5 期。
21.思宁:《华文文学世界的奥斯卡》,《文学报》,2006 年 1 月 26 日。
22.凌逾:《向现代电影越界的新小说—以西西〈东城故事〉的文体创意为例》,《华南师范大学学报》,2006 年第 3 期。