University of South Carolina Scholar Commons Theses and Dissertations 2015 Destination Hong Kong: Negotiating Locality in Hong Kong Novels 1945-1966 Xianmin Shen University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Shen, X.(2015). Destination Hong Kong: Negotiating Locality in Hong Kong Novels 1945-1966. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3190 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. DESTINATION HONG KONG: NEGOTIATING LOCALITY IN HONG KONG NOVELS 1945-1966 by Xianmin Shen Bachelor of Arts Tsinghua University, 2007 Master of Philosophy of Arts Hong Kong Baptist University, 2010 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2015 Accepted by: Jie Guo, Major Professor Michael Gibbs Hill, Committee Member Krista Van Fleit Hang, Committee Member Katherine Adams, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Xianmin Shen, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS Several institutes and individuals have provided financial, physical, and academic supports that contributed to the completion of this dissertation. First the Department of Literatures, Languages, and Cultures at the University of South Carolina have supported this study by providing graduate assistantship. The Carroll T. and Edward B. Cantey, Jr. Bicentennial Fellowship in Liberal Arts and the Ceny Fellowship have also provided financial support for my research in Hong Kong in July 2013. Second, my committee members have offered help and support, without which I would not have been able to finish this dissertation. I wish to express my deepest gratitude to my major professor Dr. Jie Guo, who have offered great support during my graduate studies at the University of South Carolina. We have worked together for about three years and she has helped me formulate the thesis, offered solutions to many predicaments during my writing process, and refined my writing style. Dr. Guo has always been supportive when I encountered various difficulties. I would also like to thank other committee members, Dr. Michael Gibbs Hill, Dr. Krista Van Fleit Hang, and Dr. Katherine Adams, who have offered precious advice on my argument and helped me contextualize my dissertation under larger socio-historical circumstances. Dr. Jeanne iii Garane, Dr. Alexander Beecroft, and Dr. Tan Ye have offered me insightful academic advice. In addition, I would like to thank my friends and family. My friends at the University of South Carolina, Jinmei Chen, Wei Cheng, Zhuo Feng, Gengsong Gao, Wei Hu, Xiang Jin, Andrea Melo, Jiayao Wang, and Jingsheng Zhang have supported me during my graduate studies in one way or another. My gratitude also goes to my roommate Wenjia Wang for taking good care of me. I would also like to thank my friends Sidney, Yan, and Xi for always being there for me. Finally, I want to thank my parents, Genquan Shen and Quanying Yao, who have always been supportive of my decisions. I am so lucky to have such loving parents, who allow their only daughter to pursue her interest. iv ABSTRACT Recent clashes between China and Hong Kong have attracted worldwide attention. Behind such clashes, I see anxieties over the Hong Kong identity. Based on Ackbar Abbas’ theorization of the “politics of disappearance” in Hong Kong, this dissertation focuses on the postwar period in Hong Kong from 1945 to 1966. I argue going back to this historical era, which help us understand how Chineseness in Hong Kong influences people’s imagination of Hong Kong. Concentrating on four novels written between 1945 and 1966, this dissertation pays close attention to the ways in which the (re)interpretations of Chineseness in these Hong Kong novels make it possible for people to find their place in Hong Kong. I contend that these various possibilities to find one’s niche in postwar Hong Kong reflect the flexible locality of Hong Kong. I include fictions written both in English and Chinese, and by native Hongkongers and non-native Hongkongers. My juxtaposition of them will show that all four novels reflect how negotiations of locality in postwar Hong Kong is possible through a reinterpretation of Chineseness in Hong Kong, regardless of the different nationalities of the author, the languages of the novels, or their different focuses on the city of Hong Kong. More specifically, I analyze the nostalgia for “authentic” Chineseness as imagined by expatriate writers such as Richard Mason; the mixedness of Chinese world and western worlds in Han Suyin’s Hong Kong; Lü Lun’s socialistic realistic depiction of Hong Kong from the perspectives of refugees; and Liu Yichang’s dilemma between his elitism as a Chinese v intellectual and the overwhelming commercialization of literature in Hong Kong. These different representations of Hong Kong in the 1950s and 1960s in my opinion, are negotiations between colonialist, nationalistic, and capitalistic perceptions of local Chineseness. In other words, negotiations of Chineseness make it possible for people to reinterpret their ethnicity, customs, cultures, and ultimately their identities in the city of Hong Kong. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ iii ABSTRACT ............................................................................................................................v INTRODUCTION .....................................................................................................................1 CHAPTER 1 COLONIAL NOSTALGIA: SUZIE WONG IN 1950’S HONG KONG .........................25 CHAPTER 2 HAN SUYIN’S DUAL WORLDS IN A MANY-SPLENDORED THING ........................63 CHAPTER 3 HONG KONG DREAM OR LEFTISM: THE PROBLEM OF REFUGEES IN POVERTY- STRICKEN ALLEY ................................................................................................................103 CHAPTER 4 SOMEWHERE IN BETWEEN: LIU YICHANG’S SELF-POSITIONING IN THE DRUNKARD ........................................................................................................................144 CONCLUSION .....................................................................................................................181 WORKS CITED ...................................................................................................................188 vii INTRODUCTION To most post-80s generations (“Baling hou,” meaning people who were born after 1980 in mainland China), Hong Kong cultural products have played an important role in their childhood and adolescence. Hong Kong TV dramas such as Legends of The Condor Hero 射鵰英雄傳 were imported and became an integral part of their childhood. When they entered middle school, girls began to read romantic fictions by Zhang Xiaoxian1 張 小嫻 and Yi Shu 亦舒 and boys were interested in reading martial arts fictions (wuxia xiaoshuo 武俠小說) by Jin Yong 金庸2. Until now, Hong Kong films and popular songs have been a great means of entertainment. From the middle-school history textbooks, students from mainland China learned that Hong Kong was an inseparable part of China and after more than 150 years of cession to Britain, it would return to its motherland in 1997. Overall, their knowledge of Hong Kong was that it was a metropolis in South China, a port where East met West, and a “Pearl of the East.” 1 Overall, I use the Pinyin system for the names of Chinese and Hongkongnese authors. But for the works from which I cite, I respect the original spelling of the authors’ names, which include both the Pinyin system and the Cantonese Romanization. 2 Jin Yong started serializing martial arts fictions since 1950s and his novels became canonized during the 1980s. Yi Shu and Zhang Xiaoxian started writing in 1960s and 1990s respectively and both of them have enjoyed great popularity among readers in Hong Kong and mainland China. 1 While these cultural products generated a romanticized imagination of Hong Kong among mainlanders, films and TV dramas in Hong Kong also produced some stereotypical images of mainlanders. In fact, the depiction of mainlanders has been common in Hong Kong films since the 1960s. According to Shi Wenhong, in many TV dramas and commercial films in Hong Kong, there was a common prejudice against mainlanders who were regarded as the “other”3 (173-176). Shi also points out the changing causes for such a prejudice. He argues that in the 1960s and 1970s, mainlanders were called “bumpkins” due to economic poverty and he considers this bias represents the conflict between “urban culture and rural culture” (174). Since the 1980s, the characterization of mainlanders in many films also highlighted the cultural and political divergences between Hong Kong and China. Specifically, Hongkongers had a sense of anxiety when facing the powerful Chinese government (Shi 181). Shi points out that these stereotypical representations of mainlanders are important features of commercial films, whose major purpose is “to entertain” (183). Undoubtedly, these entertaining films at the same time have influenced the ways in which Hongkongers view themselves