摘要
香港地狭人稠,挤感是其城市常貌。从物理空间来看,香港从垂直之城发展为立体之城:早期建筑多为唐楼,既传承岭南传统建筑,又受西方文化影响,形成了多间隔空间特色;20世纪60年代后,以大厦居所为主,管道符号、穴居者和蜷缩人成为立体化隐喻。从心理空间来看,香港作家们刻画"门、窗"符号,再现因拥挤而生的窥伺、逃离主题,重觅"我城"精神。从社会空间来看,作家们呈现挤感空间,剖析由围城走向逃城,各有方式:从西西、罗启锐、许鞍华的乌托邦笔调到王家卫、潘国灵、韩丽珠的异托邦色彩,显示出港人的内心状态。
Because of the narrowness and crowding,people in Hong Kongfrequently find themselves trapped in a tiny space. From the perspective of physical space,Hong Kong grew from the form of vertical to that of volumetric. Tang building in early time,the heritage of Lingnan culture which was influenced by the Western culture as well,was characterized by the inner space sectioned to many smaller ones. After the 1960 s,most citizens lived in the skyscrapers,and the symbol of the pipe,troglodyte and the frizzy man became metaphors of the stereoscopic reality. As to the aspect of psychological space,the writers created the sign of Door and Window to denote the theme of peep and escape and represent the spirit of 'My City'. For the presentation of the crowded space in Hong Kong,writers have different ways of writing: the style of Xixi,Luo Qirui and Xu Anhua is warm and optimistic,while the style of Wang Jiawei,Pan Guoling and Han Lizhu is gray and anxious,which suggests the state of people'mind in modern Hong Kong.
出处
《暨南学报（哲学社会科学版）》
CSSCI
北大核心
2016年第12期9-17,共9页
Jinan Journal(Philosophy and Social Sciences)
基金
国家社会科学基金重大项目<华文文学与中华文化研究>(批准号:14ZDB080)
关键词
挤感香港
垂直之城
立体之城
围城
逃城
乌托邦
异托邦
crowed feeling of the space
vertical city
volumetric city
siege
escaping from the city
utopia
heterotopia
