《i-城志•我城05》的城市及身體空間書寫———兼論“後九七香港青年作家”的情感結構

City-space and Body-space in My City 05 and the Structure of Feelings of “Post-1997 Young Hong Kong Writers”

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

西西《我城》面世30年後，潘國靈和謝曉虹以《我城05》寫出了一部新世紀的“i城”故事。小說通過再現發達資本主義香港的城市生活，寄寓了兩位作家對城市和身體空間的思考。本文分爲三部分：第一部分，通過細析《我城05》，探討潘國靈和謝曉虹在書寫“i城”時，如何呈現香港那深受資本形塑的城市空間，揭示香港在21世紀初成爲發達資本主義都市後的諸種空間特質。資本主義不僅按其邏輯塑造城市空間，身體空間亦在其支配之下，故第二部分聚焦於考察《我城05》中的“勞動身體”和“疾病身體”。潘、謝二人一方面批判資本主義通過教育把“勞動身體”物化，另一方面亦指出“疾病身體”藴含對資本主義的強大反思性／批判性力量。最後，本文把《我城05》與韓麗珠、李維怡、可洛等“後九七香港青年作家”的作品並讀，勾勒出他們的“情感結構”———抗拒資本在城市空間的無止境擴張。

Thirty years after Xi Xi published her novel My City, Lawrence Pun Kwok-ling and Dorothy Tse Hiu-hung collaboratively wrote a story about the “i-city” and published it as a book entitled My City 05. Through their representation of the highly capitalistic city life of Hong Kong, the “i-city” reveals the authors’ thoughts on the city-space and body-space in Hong Kong. This article is divided into three parts. The first part explores and analyzes how their depiction of “i-city” shows the city-space of Hong Kong as highly capitalized, so as to reveal the spatial characteristics of Hong Kong in the early 21st century. The second part discusses the fact that it is not only the city-space that changes according to the system of capitalism, but the body-space is also under its control. This part thus focuses on the “working body” and “disabled body” in My City 05. On the one hand, Pun and Tse criticize capitalism by illustrating how it objectifies the “working body” through the education system, but on the other hand they demonstrate how the “disabled body” engages in reflection/criticism on capitalism. The third part of this article is a comprehensive reading of “post-1997 young Hong Kong writers” through the lens of the “structure of feelings,” that is, their resistance to the expanded influence of capitalism towards the city-space. This reading takes My City 05 as a central text and compares it with works by other writers such as Hon Lai-chu, Lee Wai-yi, and Ho Lok.