論鍾曉陽〈良宵〉與香港的互文性

A discussion on the relationship between Sharon Zhong’s “A Night for Romance” and Hong Kong from the perspective of intertextuality

「張派」的香港傳人鍾曉陽，其小說繼承言情傳統，地域色彩甚淡。然而，成長於此地的鍾曉陽，「香港」在她的筆下，是否真的完全缺席、不留痕跡？本文以鍾曉陽的〈良宵〉為例，指出篇中如何以互文性（intertextuality）為中介，化入粵劇《帝女花》為內文本，衍生出具歷史喻意、政治寓言和文化記憶等多義的「香港性」，反映出主權過渡時期的香港人心態。本論文的目的是從互文理論的創造性閱讀中，指出書寫香港的不同可能性。文學香港的書寫，既可像鍾曉陽《遺恨傳奇》般，以大家族喻意大歷史，回應九七模式的敘事風格，作者的意圖於此成為解讀文本的最佳權威。此外，「書寫香港」亦可像鍾氏的言情短篇〈良宵〉一樣，讓讀者可以通過詮釋小說的細節，共構香港的文化記憶，在「非香港」的言情故事之外，喚回不無獨特的「香港性」。

Sharon Zhong Xiao Yang, Eileen Chang’s successor in Hong Kong, has inherited the sentimental tradition of love stories with slight local character. The notion of time and space in Zhong’s novels seemed so hazy too. Yet, Zhong grew up in Hong Kong, is it possible for “Hong Kong” completely stay out of Zhong’s world of fiction? This paper will focus on a short story by Sharon Zhong, “A Night for Romance” (〈良宵〉), to illustrate how intertexuality serves as the mediator in generating different meanings. A Night for Romance incorporating the Chinese opera Princess Changping (《帝女花》)as an intertext, thus forming a textual network with multiple meanings, such acts as a political allegory and historical metaphor of Hong Kong. The story also recalls the cultural memories and the feeling of Hongkongers during the transitional period before the handover of the city’s sovereignty. This paper aims at pointing out the various possibilities for writing and reading Hong Kong from the perspective of intertextuality. In the domain of literature, “writing about Hong Kong” may take Zhong’s style specifically in her writing of The Legend of Regret (《遺恨傳奇》) in which family sagas symbolize major historical events to echo the 1997 narrative style, then the writing intention of the author becomes the curial authority in interpretation. On the other hand, one can “writing about Hong Kong” by adopting Zhong’s approach just like the writing of “A Night for Romance”. “A Night for Romance” gives a room to readers read in the details of the text so as to reconstruct the cultural memories of Hong Kong. In a word, it is evident that Zhong’s seemingly “Non-Hong Kong” novels, through reader’s creation reading, it is probable to impel the characteristic of “Hongkongness” in Zhong’s love stories.