Thesis (M. A.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

鄒文律. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 141-153). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Zou Wenlü. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 141-153). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 董啓章簡介 --- p.1 / Chapter 第二節 --- 董啓章小說硏究述評 --- p.2 / Chapter (一) --- 另類的校園成長小說 --- p.2 / Chapter (二) --- 性別議題 --- p.4 / Chapter (三) --- 「城市書寫」 --- p.9 / Chapter (四) --- 對小說創作及文類界線的反思 --- p.12 / Chapter 第三節 --- 硏究目的和意義 --- p.15 / Chapter 第四節 --- 硏究範圍和方法 --- p.19 / Chapter 第二章 --- 「城市書寫」的意涵 --- p.24 / Chapter 第一節 --- 「城市」槪念闡述 --- p.24 / Chapter 第二節 --- 「書寫」槪念簡述 --- p.27 / Chapter 第三節 --- 「城市書寫」的視角 --- p.30 / Chapter 第三章 --- 董啓章「城市書寫」的歷史重構 --- p.34 / Chapter 第一節 --- 以歷史重構「香港文化身分」 --- p.34 / Chapter (一) --- 「文化身分」釋義 --- p.34 / Chapter (二) --- 歷史是什麼？ --- p.35 / Chapter (三) --- 「史學後設小說」的維度：〈永盛街興衰史〉，《地圖集》與《V城 繁勝錄》 --- p.39 / Chapter 第二節 --- 考古學式歷史敘述 --- p.47 / Chapter 第三節 --- 小結 --- p.58 / Chapter 第四章 --- 董啓章小說對「香港文化身分」的建構 --- p.59 / Chapter 第一節 --- 文字城市的建構與演示：《V城繁勝錄》 --- p.59 / Chapter (一) --- 城市如文本 --- p.59 / Chapter (二) --- 符號學與V城 --- p.62 / Chapter 第二節 --- 《V城繁勝錄》´ؤ´ؤ無處不在的城市「異類空間」 --- p.68 / Chapter (一) --- 傅柯「他者空間」 --- p.68 / Chapter (二) --- 「異類空間」的六項準則 --- p.69 / Chapter (三) --- V城的「異類空間」 --- p.71 / Chapter 第三節 --- 《V城繁勝錄》及《The Catalog》對消費文化的呈現及反思 --- p.78 / Chapter (一) --- 消費文化的意涵 --- p.79 / Chapter (二) --- 《The Catalog》對消費文化邏輯的物質形式模擬 --- p.80 / Chapter (三) --- 《V城繁勝錄》及《The Catalog》對消費文化的呈示 --- p.84 / Chapter I. --- 「液態愛情」 --- p.84 / Chapter II. --- 符號消費 --- p.87 / Chapter III. --- 物化人生 --- p.90 / Chapter (四) --- 《V城繁勝錄》及《The Catalog》對消費文化的反思 --- p.93 / Chapter 第四節 --- 小結 --- p.98 / Chapter 第五章 --- 「整體」與「個人」的關係一一《體育時期》和《天工開物´Ø栩栩如真》的「城市書寫」 --- p.101 / Chapter 第一節 --- 「城市書寫」焦點的調整一一從「整體」到「個人」 --- p.102 / Chapter 第二節 --- 《體育時期》一一「個人」與「整體」的搏擊 --- p.105 / Chapter 第三節 --- 《天工開物´Ø栩栩如真》一一以創作來肯定存在 --- p.113 / Chapter (一) --- 以想像力超越自我局限 --- p.113 / Chapter (二) --- 以書寫家史來建構「個人文化身分」 --- p.117 / Chapter (三) --- 可能世界帶來的可能救贖 --- p.124 / Chapter 第四節 --- 小結 --- p.130 / Chapter 第六章 --- 結論 --- p.132 / Chapter 第一節 --- 建構香港及個人的「文化身分」 --- p.132 / Chapter 第二節 --- 本硏究的延伸思考：「香港文化身分」的塡充與爭逐´ؤ´ؤ「空白能 指」的「霸權化」 --- p.134 / 參考書目 --- p.140

How should nature be written? Writing has long been a way for people to understand nature. Still, we have come to an age that we need to reconceptualize our relation with nature. Nature can no longer be regarded as a passive stage upon which human beings act. How should we understand nature so that nature is made inanimate? I propose that the solution, known as “Schizo-Natural Writing,” can be found in Dung Kai-cheung’s Natural Histories Trilogy. Hong Kong is commonly seen as a city. Correspondingly, when it comes to Hong Kong literature, the term appears frequently will be “city writing”. It is not surprising, given that Hong Kong has always been recognised as a highly-developed city, one of the most densely populated cities in the world. Famous literary works in Hong Kong like Xi Xi’s My City (西西，我城), A Dictionary of Two Cities co-written by Hon Lai Chu and Dorothy Tse Hiu Hong (韓麗珠、謝曉虹，雙城辭典), Wong Bik Wan’s The City of Lost (黃碧雲，失城), just to name some. This phenomenon is closely related to the historical background of Hong Kong. According to Chan (2009), the connection between Hong Kong literature and its cityscape can be dated back to 1950s. Though it does not mean that there are no non-urban writings, those were not in the mainstream. However, in 2000s one of the most influential local writers, Dung Kai Cheung (1967 -), has begun his Natural Histories Trilogy. He is the director in The House of Hong Kong Literature, a folk organisation of local literature. His publication includes, Androgyny: Evolution of a Non-existent Species (1996), a story about a female scientist who went into the wild and sought a nonexistent species, named as androgyny and Atlas: The Archaeology of an Imaginary City (1997), an imaginary archaeology in the future Hong Kong, which has been translated into English. During 2005 to 2010, he published the Natural Histories Trilogy, including firstly, the History of the Adventures of Vivi and Vera (2018, which titled in Chinese, 天工開物．栩栩如真), secondly, the Histories of Time: The Light of Nga Chi (2007, 時間繁史．啞瓷之光) and thirdly, on the Origin of Species: The Rebirth of Bui Bui - The Age of Apprenticeship (2010, 物種源始．貝貝重生 之 學習年代). In the trilogy, Dung Kai-cheung, echoing Deleuze and Guattari’s notion of “nature=industry”, highlighted the productivity of nature, or the naturing of nature. As such, he no longer writes nature. He writes schizo-naturally. I further adopted the term “ecology”, which on the one hand pointed out the close relation between the item produced during the schizo-natural writing; on the other hand, echoed Guattari’s the Three Ecology. In this thesis, there are four parts investigating four types of ecology: mental ecology, social ecology, environmental ecology and spatiotemporal ecology. Through examining the trilogy, love, being standing outside oneself, is advocated to be the way out of the fragmented world. Keywords: Dung Kai-cheung, the Natural Histories Trilogy, nature writing, Gilles Deleuze, Ecology

by Kung Siu Bing. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 114-121). / Abstract and appendix in English and Chinese. / by Kung Siu Bing. / Abstract --- p.iii / Acknowledgement --- p.v / Abbreviations used for the four literary works --- p.vi / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- Femininity and Masculinity --- p.14 / Chapter Chapter 3 --- Androgyny --- p.51 / Chapter Chapter 4 --- Sex，Gender and Sexual Identity --- p.80 / Chapter Chapter 5 --- Multiple Selves --- p.102 / Chapter Chapter 6 --- Conclusion --- p.112 / Works Cited --- p.114 / Appendix I Chinese version of quotations of Shuang Shen --- p.122 / Appendix II Table of major characters of Shuang Shen and The Illusionist --- p.126