HEE Wai Siam (Peking University), Fetishism or (Historical) Materialism of Black Rider: Critical Perspective on the Works of Dung Kai-cheung, Chinese/43 pages, June 2007.
Dung Kai-cheung’s writings are always swaying between the states of the real, the imaginary as well as the symbolic, which are also ready to reconstruct the former texts and combat with current social situation or fashionable criticism theory. All the theorists, eagerly darting various ideology tags into him in order to impose him into a certain state. Unfortunately, these intentions were all bitten back heavily by the author, who was regarded as a Black Rider（黑騎士）in Hong Kong literary arena. It is true not only about the author himself but also, as we say, the male character in his writings possess the glorious fine qualities of black knight or black rider: to help the weak and crush the strong, to demonstrate loyalty and unchanged love with the mistress Xu-xu(栩栩) and Ru-zhen（如真）which is compatible with the fevering adornment of Don Quixote with Princess Dulcinea’s sanctity. Although Dung Kai-cheung uses various fiction narrative skills, lots of similar images and modes still appear or reappear in his writing: about fetishism, writing stories of Hong Kong, and importantly trying to create a kingdom of female by male author’s imagination. All of these three characteristics emerge in his fiction. Historical materialism was secretly transformed into a kind of fetishism in Dung’s narration. In this article, I plan to discuss that Dung Kai-cheung’s writings are obviously combining his personal erotic fetishes with official fetishes of nation and culture. The ambivalence of this combination can be defined as Fetishism or (Historical) Materialism. Xiao Dong(小冬), an early character in Dung’s fiction, and Black Rider（黑騎士）in his recent works are regarded as author’s self-reflection, We should pay more attention to the inclination of ambivalence of masculinities in both male characters, which in fact has already appeared in Dung’s another novel ‘Dual Bodies’（《雙身》）. In ‘Dual Bodies’, the author presents us a story of a trans-gendered male character Lin Shan-yuan who was largely defined as a subject of becoming a woman created by Hong Kong Chinese male author. but to what extend do these male characters affect the narration of fetish’s mechanism and masculinities construction in Dung’s works?
董啟章的書寫總在現實界、想像界和象徵界所欲補抓的慾望对象中滑動，對過去的文本建構，和當下的社會現實與時髦理論左右開弓。所有理論家興致勃勃以各形各式的意識形態標籤往他投下的飛鏢，都被他極速地擋開或者躲開了，這方面他的確可稱得上是一個當代香港文壇的黑騎士(Black Rider)。事實上近年來作者也常于黑騎士自居，並把黑騎士的角色帶進他的小說裡。鋤強扶弱是黑騎士一貫秉持不變的精神和給予的承諾，對筆下女性“栩栩”和“如真”等人的忠心耿耿和萬般忠誠，近乎可完全媲美唐吉訶德癡迷於華貴聖潔的達辛妮亞公主的騎士作派。儘管董啟章小說的敍事技巧和內容主題變化多端，但有些意象主題以及一些人物形象，一直都是從前期貫穿到近期的創作，其一對戀物的癖好，其二對香港與成長主題的念茲在茲，以及其三：‘去陽補陰’的男性建構所力圖經營的‘女同志國度’，這均構成他寫作潛在的核心要旨。這三個要旨在我看來，是相互生成的。後兩個要旨，學界時下論述的人最多，但有關於作者書寫裡的強烈戀物癖（fetishism）展現，似乎並沒有受到多大的關注。我以為跨國資本主義雷厲風行的商品拜物教和都市男人的情慾戀物癖在董啟章的小說裡混雜成一體，洋洋成大觀。中國現代性的歷史唯物主義被他的文本轉化成一種（歷史）唯物癖。本文將會逐步論證，董啟章寫作和追憶的方式顯然夾雜了個人的情慾戀物癖（Erotic fetishes）和國家、文化的公家戀物癖(Official fetishes)。這兩者之間時而分離和重疊，整合起來就是本文的標題“戀物/（歷史）唯物癖”的意旨所在。而小冬與黑騎士，分别作為前期與近期的小說裡，作者最認同的兩個自我形象投射，他們不動聲色均出現了‘去陽補陰’的傾向，這其實和《雙身》裡的林山原的變性故事異曲同工。而這一切會在多大的程度上牽動著小說的戀物敍事機制和男性建構（Masculinities）？