| Summary: | 2006年，香港政府无视香港市民的抗议，执意拆卸位于中环的天星码头，掀起一股强劲的“文化保育”旋风。文化保育议题瞬间在香港受到瞩目，成为香港政府不容忽视的民间力量。在这股浪潮下，市民争取城市的发展权，参与城市规划。与此同时，香港人亦想通过文化保育，将过去服膺于权威历下的香港历史挖掘出来，重新定义香港人身份。董启章的小说在探讨香港历史的议题上，甚有成就。他通过小说的书写，一方面揭示香港历史的断裂性，另一方面，呈现历史遭权力操纵的本质，目的是要带出权威的历史论述，未必就是准确无误的事实。本文欲以董启章的《天工开物•栩栩如真》为例，通过分析小说中使用的几个“物件”，探讨香港回归后的文化保育意识。An unprecedented debate on cultural heritage conservation arose when the Hong Kong government insisted on the demolition of the Star Ferry Pier in 2006, despite strong opposition voices. Since then, the people of Hong Kong became preoccupied with local history and geography. They strove continuously for the right to have a say in the development of the city, and to participate in it. Besides that, they regard cultural heritage conservation as a means to rediscover truth that was previously suppressed in history, and to protect built heritage that were essential to the formation of a collective Hong Kong identity. This paper attempts to study the consciousness for cultural heritage conservation in post-handover Hong Kong, by drawing reference to Dung Kai Cheung’s novel, Works and Creations (Tiangongkaiwu Xuxuruzhen). Dung’s novels have been credited for its different approaches towards the historical imagination of Hong Kong; not only does his novels broach issues on the discontinuities of Hong Kong history, they also reveal the inherent power struggles under the grand narrative of history. Dung’s purpose in doing so, is to uncover the historical anomalies in the linear and monolithic history constructed by the dominant powers.
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