- 期刊
千年華胥之夢－董啟章，孟元老，「夢華體」敍事
The Thousand Year Dream of Hua Xu Dong Qizhang, Meng Yuanlao, the Narrative of ＂Menghua Form＂
摘要
二十世紀末香港回歸前後，香港作家董啓章出版《繁勝錄》與《夢華錄》，描寫香港成爲殖民地以來一百五十三年的繁華勝景以及浮世風情。顧名思義，這兩部小說各有所本，分別是《西湖老人繁勝錄》以及《東京夢華錄》。而董啓章又稱《繁勝錄》其實根據另一本名為《V城夢華錄》的佚作改寫而成；因此，他筆下的二書其實都脫胎由於孟元老的《東京夢華錄》。董啓章立足後現代香港，遙想北宋汴梁的繁華與倥傯，因此形成他所謂的「未來考古學」。尤其《繁勝錄》無論在體例、內容，編排都與《東京夢華錄》惟妙惟肖。兩部作品，一寫香港，一寫汴梁，相隔將近千年，卻形成幻魅般的對照。董啓章的「後現代」諧仿之作也投射出香港的「後殖民」以及「後遺民」情境。伊永文教授曾就《東京夢華錄》的風格討論「夢華體」對中國敍事學的影響。準此，本文以董啓章作品為例，更進一步探討城市、歷史、記憶書寫之間的關係。誠如董啓章所言：「『夢華』二字，應是世界上所有曾經光輝一時的城市的終極歸結。夢之必破，華之必衰，似是千古不變的定律。」惟有當時間在寫作中成為永恆的運動，過去與未來即成就於當下。「夢未必虛，華未必墮，一切經驗，一切存在，一經集之、錄之、誌之，就可以脫離單一的時空，成為無限衍生和延伸的世界。」
並列摘要
At the end of the twentieth century, around the time Hong Kong reverted to China, the Hong Kong author Dong Qizhang published Fansheng Lu and Menghua Lu, describing the prosperous cityscapes and contemporary styles in the 153 years since Hong Kong became a colony. From the titles, we gather that these novels both have their predecessors: respectively, Xihu Laoren Fangsheng Lu and Dongjing Menghua Lu. Dong Qizhang also stated that Fansheng Lu was actually based on modifications to a lost work, named V-cheng Menghua Lu; therefore, the two books he wrote were actually reincarnations of Meng Yuanlao's Dongjing Menghua Lu. Dong Qizhang stood firmly in postmodern Hong Kong and thought of far-off Kaliang of the Northern Song luxurious prosperity and devastation; thereby he developed the so-called ＂archaeology of the future.＂ Especially for Fansheng Lu, no matter whether considered in terms of form, content or serial order, it uncannily resembles Dongjing Menghua Lu. One book writes about Hong Kong, the other about Kaliang, but both books, separated by almost one thousand years, comprise a phantasmagorical doublet. Dong Qizhang's ＂postmodern＂ imitative work projects to Hong Kong's ＂post colonial＂ and ＂post immigrant＂ scenarios. Based on Dongjing Menghua Lu, Professor Yi Yongwen has discussed how ＂menghua form＂ has influenced Chinese narratology. Accordingly, this essay uses Dong Qizhang's works as an example to take a further step in exploring the relations between writing of cities, history and memory. It is really as Dong Qizhang has said, ＂The two characters meng and hua should map the ultimate trajectory of what every city in the world has experienced that has had a brilliant boom period. A dream [meng] must break; florescence [hua] must weaken: this is an unbroken law of thousands of years.＂ Only the time spent in writing can become an eternal motion where the past and the future are realized in a present moment. ＂A dream must be empty, prosperity must decay: all existence, all experience, once accumulated, recorded, documented can escape monolithic spacetime and become capable of unlimited generation and extension to the world.＂