論董啟章《天工開物．栩栩如真》和《時間繁史．啞瓷之光》對作家倫理責任的叩問

在文學寫作長年處於邊緣位置的香港，近年以寫作長篇小說為主的董啟章經常思考「為什麼寫」和「寫與不寫」之問題。為此，他在《天工開物．栩栩如真》和《時間繁史．啞瓷之光》裡，創造了兩個自己的「假面」：黑騎士和獨裁者，透過他們對寫作的思考，尋找自己堅持寫作的理由。本文主要論述方向有二：其一借助巴赫金複調小說理論，闡釋《天工開物．栩栩如真》和《時間繁史．啞瓷之光》裡，黑騎士和獨裁者與其筆下的人物如何體現複調小說的特質，論述為什麼董啟章認為小說作者必須對主人公負上責任。其二結合香港的文學環境，探討董啟章如何看待黑騎士「為自己而寫」和獨裁者「為他人而寫」這兩種寫作取向，並以小說創作來貫徹自己的寫作理念。
In Hong Kong, where literary writing has long been peripheral, Dung Kai Cheung, who has concentrated on writing novels in recent years, often ponders the questions "why write" and "to write or not to write." He therefore created two personae of himself-Black Rider and Dictator-in Tiangong kaiwu, Xuxu ruzhen and Shijian fanshi, Yaci zhiguang, examining their thinking on writing in order to find out the reasons he insists on writing. This article aims to conduct an inquiry from two perspectives. First, based on Bakhtin's theory of the polyphonic novel, it explains how Black Rider and Dictator, as well as the characters in their stories, embody the characteristics of the polyphonic novel in Tiangong kaiwu, Xuxu ruzhen and Shijian fanshi, Yaci zhiguang. It then discusses why Dung thinks that authors of novels must take responsibility for the heroes. Second, taking into account the literary ambience in Hong Kong, this article studies Dung's attitude towards Black Rider's choice to "write for himself" and Dictator's choice to "write for others," and how Dung follows out his own writing philosophy by engaging in novel writing. Copyright © 2013 中國文學學報編輯委員會.