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Li Ling Ngan Beyond Cantonese: Articulation, Narrative and Memory in Contemporary Sinophone Hong Kong, Singaporean and Malaysian Literature by Li Ling Ngan A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of East Asian Studies University of Alberta © Li Ling Ngan, 2019 Abstract This thesis examines Cantonese in Sinophone literature, and the time- and place- specific memories of Cantonese speaking communities in Hong Kong, Singapore, and Malaysia after the year 2000. Focusing on the literary works by Wong Bik-wan (1961-), Yeng Pway Ngon (1947-) and Li Zishu (1971-), this research demonstrates how these three writers use Cantonese as a conduit to evoke specific memories in order to reflect their current identity. Cantonese narratives generate uniquely Sinophone critique in and of their respective places. This thesis begins by examining Cantonese literature through the methodological frameworks of Sinophone studies and memory studies. Chapter One focuses on Hong Kong writer Wong Bik-wan’s work Children of Darkness and analyzes how vulgar Cantonese connects with involuntary autobiographical memory and the relocation of the lost self. Chapter Two looks at Opera Costume by Singaporean writer Yeng Pway Ngon and how losing connection with one’s mother tongue can lose one’s connection with their familial memories. Chapter Three analyzes Malaysian writer Li Zishu’s short story Snapshots of Chow Fu and how quotidian Cantonese simultaneously engenders crisis of memory and the rejection of the duty to remember. These works demonstrate how Cantonese, memory, and identity, are transnationally linked in space and time. This thesis concludes with thinking about the future direction of Cantonese cultural production. ii Acknowledgements I am most grateful to my advisor Professor Clara Iwasaki, who supported and mentored me by devoting her time through patience and guidance. She has shown me how to be a professional scholar with great precision and logic. She has always had faith in me, encouraged me to think broadly and challenged my intellectual boundaries to continue to improve. Her rigorous and perceptive directions have shaped this project into a meaningful form. I am also deeply indebted to her for her personal support during the most difficult time of my life. This project would not have been possible without her. I would also like to thank my committee members. Professor Christopher Lupke gave insightful feedback on my thesis and shared wonderful resources. In his seminar, he allowed me to read poems aloud in Cantonese, enthusiastically supporting my work inside and outside the classroom. Professor Lynn Penrod provided valuable suggestions to make my writing precise and clear. I especially appreciate her time and dedication to proofread my work. Beyond the thesis committee, I thank Professor Victoria Ruetalo for her course on critical theory, which inspired me to take on this project. I also enjoyed my conversations with Professor Daniel Fried about reading theoretical materials and improving presentation skills. I would like to extend this thanks to my fellow classmates and friends – Stefana Vukadinovich, Shuyao Zhou, Shan Ren and Wai-mei Lui – have all made my graduate life pleasant and enjoyable. My thanks also goes to Langston Brasen and Lijie Dong for reading my draft and giving me constructive comments. And my greatest gratitude is to Langston Brasen, who helped editing my work. I must express my gratitude to my dearest friends for their love and support. When I was struggling, Venus Ho, Joyce Yik, Sabrina Cho, Becky Ip and Suki Liu came to Edmonton/ Toronto iii and spent time with me, which helped me overcome a lot. Their words of kindness, care and humor lightened my toughest times. They are always by my side to support me and believe in me without wavering. I am and will always be grateful for their friendship. Finally, my family is at the heart of all of this. I thank my cousins, Jacky Ye and Peter Zeng, for their support while I was in the worst shape. Most importantly, I thank my mom and Uncle Ng for their unconditional love and care. Even though they have little idea of what my work is about, they have unconditionally supported me and allowed me to pursue my goal and passion thousand miles away from home. They love me more than themselves. Their understanding and support are beyond words. It is to my parents that this thesis is dedicated. iv Table of Contents Abstract .......................................................................................................................................... ii Acknowledgements ...................................................................................................................... iii Introduction ................................................................................................................................... 1 On the History of Cantonese Literature ..................................................................................... 2 Cantonese Literature and Sinophone Articulations .................................................................. 8 Memory at the Crossroads of Cantonese and Sinophone ....................................................... 13 Structure of the Chapters ........................................................................................................... 15 Note on Romanization ................................................................................................................ 18 Chapter One Reclaiming Self-identity: Involuntary Autobiographical Memory in Hong Kong ............................................................................................................................................. 19 Introduction: Tracing Wong Bik-wan’s Hybrid Cantonese Writing .................................... 20 The Interplay of Cantonese and Involuntary Autobiographical Memory ............................ 26 Wong Bik-wan’s Sinophone Articulation in Children of Darkness ........................................ 29 Mental Time Travel to Attain Self-identity .............................................................................. 37 Conclusion: The Implications of Vulgarized Cantonese Writing........................................... 44 Chapter Two The Importance of the Mother Tongue: Absent Memory in Singapore ........ 46 Introduction: Yeng Pway Ngon’s Evolutionary Cantonese Writing ..................................... 47 Yeng Pway Ngon’s Sinophone Articulation in Opera Costume .............................................. 52 The Interplay of Cantonese and Absent Memory in an Alternating Omniscient Narrative 56 Completing Narrative Inheritance Through Cantonese ......................................................... 63 Conclusion: The Imperative of Retaining the Mother Tongue .............................................. 73 Chapter Three Everyday Life and Forgetfulness: Crisis of Memory in Malaysia ............... 76 Introduction: Li Zishu’s Quotidian Cantonese Writing in Malaysia .................................... 77 The Interplay of Cantonese, Crisis of Memory, and Heteroglossia ....................................... 83 Li Zishu’s Sinophone Articulation in Snapshots of Chow Fu ................................................. 87 v Self-representation: Mundaneness in Everyday Life .............................................................. 91 Self-reflexivity: Oblivion and Forgetfulness Toward the MCP .............................................. 97 Conclusion: Farewell to the MCP ........................................................................................... 105 Conclusion ................................................................................................................................. 108 Bibliography .............................................................................................................................. 112 vi Introduction This thesis focuses on contemporary Cantonese literature in order to explore how Cantonese narratives articulate specific memories in Hong Kong, Singapore, and Malaysia. Drawing on the Sinophone as a critical concept, this study represents how Cantonese, as a non-standard Sinitic language, challenges monolingualism and captures memories from specific times and places. The central argument of my thesis is that writers use Cantonese language to underline individual identity that is embedded within the narrative. Writing in Cantonese might not be considered an identity that distinguishes a writer from writing in a standard language per se, yet it is the interplay between Cantonese and the standard language that creates spaces of the uniquely Cantonese identity. Understanding Cantonese literature through Sinophone studies and memory studies, each chapter looks at distinct but inter-related representations of Cantonese where memory is part of articulating identity. The scope of this thesis is an investigation of three fictional works from the 2000s that explore Cantonese, memory and individual identity formation – Lit lo juen/ Lie lao zhuan 烈佬傳 (Children of Darkness, 2012) by Hong Kong writer Wong Bik-wan/ Huang Biyun 黃碧雲 (1961-), Hei fuk/ Xifu 戲服 (Opera Costume, 2015) by Singaporean writer Yeng Pway Ngon/ Ying Pei’an 英培安 (1947-) and Chow Fu gei leuk/ Zhoufu jilue 州府紀略 (Snapshots of Chow Fu, 2000) by Malaysian writer Lai Tsz Shu/ Li Zishu 黎紫書 (1971-). This opening chapter will first serve to elaborate the definition of Cantonese literature and to introduce the methodological
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