本文以《香港三部曲》中的妓女角色為切入點，試圖釐清小說中所呈現的性別圖像與階級政治。就性別圖像而言，小說隱含異性戀單一婚配制的意識形態，因此同性戀與自體情色的可能性被排除在外，而主角黃得雲的妓女身份仍然如聖殿裏的陰溝，無法去除其污名。在階級政治的部份，黃得雲的階級攀升與拋棄妓女身分是一體兩面，作者以其生命歷程隱喻香港的歷史發展，卻隱含著線性、進步與發展主義式的資本主義史觀，因而位居社會最底層的其他妓女與囚禁於家戶空間的婢妾，成為無法發言、不足以被再現的底邊階級。在台灣的後殖民研究大多借鏡薩伊德與巴巴的理論，本文則參考史畢瓦克的論述加以分析，因其理論在後殖民的框架中，結合了馬克思主義的政治經濟學批評、女性主義的性別政治分析與解構主義的閱讀策略，足以讓我們重新思考《香港三部曲》的複雜性、曖昧性與侷限性。

With a focus on the figure of prostitutes, this paper attempts to articulate the gender configuration and class politics of the Taiwanese writer Shi Shuqing's Hong Kong Trilogy. In terms of gender configuration, the trilogy involves an ideology of heterosexual monogyny that excludes the possibilities of homosexual relationship and autoerotic pleasure and therefore constantly stigmatizes the heroine Huang Deyun, a daughter of a peasant family in Mainland China forced into prostitution in Hong Kong, as the sewer beneath the pantheon. With regard to class politics, Huang Deyun's upward movement on the ladder of class coincides with the desertion of prostitute identity, a life trajectory allegorizing Hong Kong's rapid economic development but implicitly and unwisely embracing a capitalist view of history as linear, progressive and developmental. Under such circumstances, prostitutes surviving at the bottom of society as well as housewives, concubines and female servants imprisoned in the households are under-represented as the subaltern and deprived of their voices. In Taiwan's postcolonial studies, literary critics have frequently drawn upon theories of Homi Bhabha and Edward Said whereas this paper intends to emphasize the usefulness of Gayatri Chakravorty Spivak's interruptive employment of Marxism, feminism and deconstruction in postcolonial studies. Through her insights, this paper wishes to shed new light on the complexity, ambiguity, and contradiction of Shi Shuqing's ambitious literary work-Hong Kong Trilogy.