摘要
现有西西研究多聚焦其单部著作,以细析叙事技巧和对香港地区议题的具体表达,少有关注其思想承继的贯通论述。而有关西西历来的乌托邦书写,学界解读亦莫衷一是。西西遣用乌托邦和恶托邦叙事时,实则不再延续造成两者对立的历史语境,而是统合并化用其精神内核,以《我城》与《飞毡》为先导,在《我的乔治亚》层层包裹的叙事空间中,辨析经典乌托邦想象和潜在异质性,以“时空怪诞”的对话性与造屋的游戏性编织“以香港作为方法”的都市寓言。至此,西西的乌托邦书写进程呈现为内在统一的多重变奏,由《我城》对本土未来图景的轻盈眺望,转向《飞毡》中以岛屿为中心的多角度体察,再至《我的乔治亚》中鼓励都市社群进行流动性、可持续性建设的空间实践。
Most existingresearch on Xi Xi specially focuses on one of her works so as to explore narrative strategies and specific indications of Hong Kongissues therein,with general discussions about her ideological variation and continuation being scarce.As for Xi Xi’s utopia writing,researchers have not yet reached any agreement.Xi Xi’s flexible adoption of utopian and dystopian narratives lies on an integration of their spiritual cores instead of the original historical context which dichotomized them.Taking My City and Flying Carpet as preliminaries,she createslayered narrative space in My Georgian and discerns potential heterogeneity in the classic utopian imaginations,weaving urban allegories which regard"Hong Kong as method"by means of the dialogicalityin"temporal and spatial grotesque"and the playfulness in dollhouse-building.Generally,Xi Xi’s interpretations of"spirit of utopia"appear constantly varied but inherently united in her serial works,developing from her brisk gaze at the local future in My City and island-oriented observations from multiple angles in Flying Carpet,to spatial practices which try engaging urban residents into fluid and sustainable constructions of cities in My Georgian.
出处
《华文文学》
2023年第3期91-99,共9页
Literatures in Chinese
