| 英文摘要 |
Sanjidi (SJD) and New Sanjidi (New SJD) is a genre made up with classical Chinese, modern Chinese, Cantonese and modern Chinese, Cantonese and English respectively. This language genre of code-mixing had been popular in newspapers in Hong Kong during 1940s to 1970s, while was often interpreted as reflecting the identity struggle of Hongkongers between China and Britain during colonial period. However, after the declining influence of traditional newspapers as a form of common entertainment, SJD soon faded out in history. After a historical analysis of Hong Kong pop music, this article proposes a viewpoint that lyrics in Hong Kong pop music had actually inherited the code-mixing characteristic and its discourses about Hongkongers’identity. While, after analyzing the code-mixing features of four pop lyric samples published within 2014 to 2022, I found the code-mixing features in pop lyrics more hybrid than SJD literatures, which made the identification process difficult, and related cultural background is needed. Thus, I further propose an imagination of Post-Sanjidi (Post-SJD), as to point out the value of this hybridity under the complex recognition of indigenous consciousness in nowadays Hong Kong. I found that this hybrid code-mixing also become a feature of discussing indigenous consciousness in Hong Kong, while will expectedly be even more hybrid in the coming future. This hybridity is where the indigenous consciousness of Hongkongers locates. |