Chong xie wo cheng: jiu shi nian dai yi jiang Xianggang wen xue de "zi wo chong xie" yan jiu

M.Phil.Undergoing the drastic social and political changes in Hong Kong since the 1990s, Hong Kong writers had attempted to respond to the political and historical context and to overcome the constraints of writing Hong Kong by means of rewriting their own works. Under the political context of the 1997 handover, Yesi 也斯 (Leung Ping-kwan 梁秉鈞, 1949-2013) had repeatedly revised his travelogue Journey of the Worry Dolls 《煩惱娃娃的旅程》(1983) until the finalized version, Cities of Memories, Cities of Fictions《記憶的城市‧虛構的城市》, was published in 1993. Yesi demonstrated a transtemporal and transcultural “dialogue” to re-investigate the local cultural identity and evaluate the ossified representation of Hong Kong. Another renowned Hong Kong writer Xixi 西西 (Cheung Yin 張彥, 1938- ), with her reflection on the social conflicts regarding the localism movements, published her novel Knitting Nest《織巢》 in 2018. Being a rewritten work of the second half of her serialized novel Migratory Birds《候鳥》(1982), it emphasized the diversity and mobility of local identity consisting of different generations and individuals, by reconnecting the current situation with the formation process of local identity from the 1960s. On the other hand, Wong Bik-wan 黃碧雲 (1961- ) published her novel The Re-walking of Mei-he《i 微喜重行》 in 2014 to re-handle the themes of her works in the 90s while Chung Hiu-yeung 鍾曉 陽 (1962- ) rewrote her novel The Legend of Regrets《遺恨傳奇》(1996) into Regrets 《遺恨》in 2018. Both of them utilized rewriting as a method to review and overcome the difficulties causing their hiatus in writing and to reposition themselves and their acts of writing when facing the impregnable power of history and destiny.Based on the comparison of the versions of their works, this thesis analyzed the “self-rewriting” of the four writers to trace the shift in their ideological and poetological motivation which shows the interactions between the texts and personal experiences, social and historical backgrounds. With the characteristics of double contextualization and the historicization of the creative process, self-rewriting provided important cases to study how the conscious adjustments of writing intentions and strategies respond or intervene the social and cultural changes, therefore projects a graphic manifestation of the discourses of self, word and society. Meanwhile, the coincidental self-rewriting among the important Hong Kong writers since the 1990s can be regarded as a literary phenomenon and provided unique value on exploring the development and common features of Hong Kong literature.九十年代以來香港社會面對急遽的政治變化，從「九七回歸」的焦慮到保衛天星碼頭、皇后碼頭的本土化浪潮，以至2014 年「雨傘運動」前後日趨激烈的本土爭議。時代轉折之際，香港作家面對特定政治和歷史語境，均嘗試以重寫舊作的方式回應社會以及寫作困局。九七回歸的政治語境下，也斯（梁秉鈞，1949-2013）反覆修改1983 年在《快報》連載的《煩惱娃娃的旅程》，並於1993 年改以《記憶的城市‧虛構的城市》之名出版為單行本，以跨時空、跨文化的「對話」尋索香港文化身份以及建構書寫香港的方法，反省香港研究熱潮中的城市論述。面對吵鬧撕裂的年代，西西（張彥，1938- ）亦於2018 年改寫1982 年於《快報》連載的《候鳥》後半部分，出版為《織巢》，把六十至九十年代香港本土意識形成的過程和多樣性，與現時的本土爭議重新連接，並以多聲道的方式編織更能容納不同世代、不同個體的香港故事。另一方面，黃碧雲（1961- ）於2014 年發表小說《微喜重行》，表明重寫九十年代舊作曾處理的題材；鍾曉陽（1962- ）亦於2018 年把舊作《遺恨傳奇》（1996）改寫為《遺恨》。二人均嘗試在停寫期後以「重寫」方式超越自身寫作困境，重新尋索歷史命運下個人的定位和書寫的意義。本文以上述四位香港作家及其「自我重寫」的小說為研究對象，以各種著作版本比較為基礎，嘗試從作家的創作理念，以及文學生產、發表、修改的歷史語境，追蹤作家對個人、城市和歷史的多重思考，以及對寫作的省思或轉向。「自我重寫」揭示流動的創作過程，跨越不同時代脈絡，造成雙重歷史語境的交疊。「自我重寫」研究聚焦於作家如何自覺地調整寫作意圖和策略，把固定於某一時空的舊作重新概念化，具針對性地回應文化和社會環境的轉變，因此與既有的研究框架比較，更能兼及作品的具體實踐和細節、作家創作理念的變化，以及文化和社會語境的轉變等多個面向，以小觀大，呈現個人、文本、社會之間的多重圖像。與此同時，九十年代以降多名重要香港作家都作出自我重寫的決定，「重寫」作為現象所代表的意識形態和時代意義，對疏理香港文學發展脈絡和發掘香港文學共同特質均具備獨特價值。鄧樂兒."2019年9月".Parallel title from English abstract.Thesis M.Phil. Chinese University of Hong Kong 2019.Includes bibliographical references (leaves 176-194).Abstracts in Chinese and English.Title from PDF title page (viewed on February 15, 2022).Deng Le'er