亲密关系的公共性——论金庸武侠小说中情感叙事的主导性及其意义建构

The Commonality of Intimate Relationships:On the Dominancy of Emotional Narrative and Its Construction of Meaning in the Martial Arts Fiction of Louis Cha Jing-yong

“武”“侠”“情”作为新派武侠小说的三大要素,其间存在着紧密的联系与矛盾之张力。在金庸小说中,“情”不再是被武侠文类“挪用”的次要因素,而是占据了主导地位:情感主导人物武功的创造与发挥,促成侠客身与心沟通,关于“比武”的叙事中亦充溢着情感的流变,形成“情”与“武”互动的新模式;私密情感作为个人主体性的象征,使“侠义”对自我的抹杀及其作为虚构秩序的固有局限性得以暴露,侠客因此放弃对江湖空间的闯荡,转而隐匿于不可见的自我世界。亲密关系与情感叙事作为建构社会秩序和定义个人身份的基础,在金庸小说的文本内部遮蔽甚至消解了关于“侠义”的公共话语,构成其反武侠面相与现代性特质;同时折射出香港地区华语语系文学对“身份危机与认同”这一主题的反映与再生产。

Being martial,chivalrous and emotional are the three elements in the new school of martial arts fiction which are closely interrelated and conflicted.In Louis Cha Jing-yong’s fiction,emotion takes the dominant position as it is no longer a secondary factor appropriated by the martial and chivalrous genre:emotion dominates the characters in the creation and display of their martial skills,helping the chivalrous experts communicate physically and spiritually,the narrative about the competitions in military skills full of emotional change,forming a new pattern of interaction between the emotional and the martial while private emotions,as a symbol of individuals’subjectivity,lay bare the obliteration of self by the chivalry and the inherent limitations of the virtual order,with the result that the chivalrous experts give up on roaming around in the space of rivers and lakes,choosing instead to hide themselves in their own private world that is invisible.Intimate relationships and emotional narrative,as the basis for constructing the social order and defining the individual’s identity,conceal and even dissolve the public discourse of chivalry within Louis Cha Jing-yong’s text,forming the facial features of his anti-martial arts and modern qualities while,at the same time,refracting the reflection on the theme of identity crisis and identification by the sinophone in Hong Kong region and its reproduction.