《別讓我走》與生命政治的美麗新世界

陳重仁*

摘要

西元1996 年，蘇格蘭羅斯林研究所創造的複製羊使得複製生命成了科學上真實的議題。十年後，英國當代小說家石黑一雄的小說《別讓我走》則讓複製科技成了真實的倫理議題。本文透過傅柯、羅斯與阿岡本的理論脈絡討論生物科技衍生的生命倫理議題，透過閱讀石黑一雄的小說《別讓我走》析論複製生命在小說創作中開啟的器官捐贈與生命延續等倫理關懷，討論本書隱具未來生命樣貌的開創與錯動。小說建構的複製人世界具體展現理論家未能親臨的生物科技時代，點出生命科技的啟蒙辯證必然衍生的生物公民權，也必然決定人類在下一個世代量身訂做與自我介入的生命樣貌。
本文試圖論析《別讓我走》的重點不在於觀看複製人，而是如何將人看以及何以非人。正當生物科技利用機械化流程製造並複製生物商品，新世界的生命呈現輕易訂製且隨意棄置的樣態，我們適足以重新思考生命的保存乃建立在對待非人的殘暴與野蠻之上，在這樣的權力迴路中，無人得以僥倖脫逃。

The Brave New World of Biopolitics in
Never Let Me Go

Chung-jen Chen*

Abstract

On July 5, 1996, the Roslin Institute in Scotland made cloning an issue of technological reality. Ten years later, contemporary English novelist Kazuo Ishiguro made human cloning a hot issue of moral reality. This paper attempts
to discuss controversies of biopolitics as biotechnology becomes an actuality and life forms become commodity. By resorting to Foucault’s and Agamben’s examination of the mechanism of letting live and letting die and Nikolas Rose’s indication of the politics of risk as materialized in the commodification of biotechonology, this paper attempts to land discussion of biopolitics on the ground of Ishiguro’s world of cloning.
This paper argues that the human cloning in the world of fiction provide us with the chance to examine the makings of the human, and more importantly, the inhuman. Ishiguro’s patrol world of human cloning visualizes practices of biotechnology in their inclination to transform life into mechanical, manufacturable and replicable being that is to be easilymade, tailor-made and easily-forsaken. While the possibility of human cloning enriches the theoretical base of biopolitics, it reveals a new domain of biocitizenship in which life could be prolonged at the price of sacrificing others. The brave new world of biopolitics is thus materialized at the fictional world of human cloning where life is preserved in an economy of barbarity in which there is nowhere to run.

恥辱與華語語系主體
施叔青《行過洛津》的地方想像與實踐

詹閔旭*

摘要

目前在中文研究領域談到恥辱時，多放在大中華民族主義脈絡，聚焦於新中國與東亞病夫的辯證。然而，隨著晚近華人地區有別於大中華意識的在地意識日漸攀升，一股新的華語語系恥辱主體──以繼承中華文化與認同為恥──的出現，值得關注。這篇文章以台灣作家施叔青的小說《行過洛津》為個案，探討恥辱如何形塑華語語系主體，以及恥辱感自我否定、自我批判的特質所隱含的積極效應。華語語系恥辱在中華文化和在地文化的拉扯當中，展示一種有別於「在地想像」的嶄新土地想像，即我所謂的「驅地想像」，可用來回應在地實踐與中華文化遺緒在華人社會裡所引發的相關課題。

Shame and the Sinophone Subject
The Idea and Practice of Locality in Shi Shu-ching’s
Walking through Lo-chin

Minxu Zhan*

Abstract

經典的百年詮釋
《克萊維王妃》與二十世紀的文學批評

林德祐*

摘要

法國經典小說《克萊維王妃》寫於十七世紀，作者拉法耶特夫人結束前人大河小說的傳統，代之以極簡濃縮的佈局手法，開啟現代小說之先河，成為法國心理分析小說的濫殤。出版以來，學界對該書的評析工作從未停歇，然而最紛呈、最多元的景象莫過於二十世紀，該經典成為歐美學界眾家理論爭相解析的對象，甚至在法國引發理論界的筆戰，締造出一片紛殊的景觀：學院派的傳統閱讀、存在主義的哲學觀點、精神分析的原初匱乏說、結構主義的敘事網絡解讀、女性主義的性別研究、酷兒批評的出櫃閱讀⋯⋯皆為這本古典小說開創許多新穎的詮釋。姚斯的「期待地平線」概念正可以描繪這一段作品與讀者的互動史：時代的精神演變、讀者的閱讀習慣、出版社的策略、現代與後現代美學觀的轉變等，皆對《克萊維王妃》在二十世紀的接受過程有關鍵性的影響。本文試圖從二十世紀的批評理論如何閱讀這部小說出發，勾勒一段該書的接受美學史，從文學理論的淵源、衍異和流變，剖析經典地位的成形、鞏固，藉此回顧二十世紀重要文學理論的消長，並探討該經典如何在已有的基礎上開向二十一世紀。二十世紀的理論盛況為《克萊維王妃》一書帶來深層歧異的觀點，而這本古典小說的現代性也為這段批評理論百家爭鳴的時代提供重要的實踐場域，見證了理論輩出的二十世紀，體現了理論批評與文學相輔相成、相互輝映的密切關係。

Reinterpretation of the Classical Novel
The Princess of Clèves and Literary Criticism
in the 20th Century

Te-yu Lin*

Abstract

The French classical novel The Princess of Clèves, written in the 17th century by Madame de Lafayette, represents the end of the “river novel” tradition, and anticipates modern novels with its simple and condensed structure. Arguably, this novel launched the line of French psychoanalytic novels. Ever since its publication, academics have been critiquing this novel in various lights. However, the most heated debates over the novel took place in the 20th century when the classical novel became the subject of theoretical interpretation by European and American academics. The various approaches of reinterpretation included traditional academic, Existentialist, psychoanalytic, formalist-structuralist, feminist and queer, etc.
Jauss’ idea of “horizon d’attente” is useful in capturing the interaction between The Princess of Clèves and its readers, which always reflects the changes in the spirit of times, readers’ reading habits, publishers’ strategies, as well as the significant influence, in the 20th century, of modern and postmodern aesthetics on the acceptance of this classic work. The present paper delineates the aesthetic reception of the novel according to critics’ different approaches in the 20th century, and analyzes the formation and consolidation of this classic work in terms of the origins, differences, and evolution of literary theories. The diversity of theories in the 20th century led to profound and divergent views on The Princess of Clèves, as the “inherent modernity” of this classic work provides ample textual space of maneuvering for various literary criticisms. The Princess of Clèves thus witnesses the history of 20th century theories, and demonstrates the complementary relationship between literary criticism and literary works.

後現代巫者的氣味祭儀、薩滿文化復興及其身體實踐
新探三部台灣當代小說

呂奇芬*

摘要

本文探討台灣幾篇發表於90 年後的小說──包括朱天文的《荒人手記》與《巫言》、朱天心的〈匈牙利之水〉與林俊穎的〈以玫瑰之名〉──中「後現代巫者」的文學造型，並聚焦於他們透過氣味引導所進行的、具有隱喻性宗教意味的個人或集體儀式。這些作品展現出當代薩滿文化復興以及「新時代」學說的跨文化影響力，更突顯了感官與宗教性的緊密連結：在氣味的生物性被重新強調時，它的「魔魅」性（enchantment）與神聖性也得以恢復。氣味的儀式性意義，尤其是「疆界轉換」的功能顯得重要，因其扮演了「閾境」（liminal）的角色，溝通世俗與神聖的時間與空間。〈匈牙利之水〉中的「招魂」儀式，〈以玫瑰之名〉中的芳香療法「淨化」儀式，《荒人手記》中的「療癒」儀式等，都反映了現代社會由神聖走向世俗，然後又由理性原則返顧、戀舊神祕／巫術思維的文化心理。「後現代巫者」的氣味祭儀提供了一條透過身體經驗、重新親炙神聖性的實踐進路，更新了古之巫者以身體為中心的敬虔實踐的意義。在此過程中，我們觀察到社會的身體如何在集體心理的轉變歷程中，不斷改變自己的嗅覺品味以適應文化環境，後現代氣味文學為我們側證了「社會性氣味」的演化軌跡。

Postmodern Shaman’s Ritual of Scents
and the Bodily Practices of Neo-Shamanism
New Perspectives on Three Taiwan Fictions

Chi-fen Lu*

Abstract

The present article aims to study the literary figure of so-called “postmodern shaman” in several Taiwan novels published after 1990 by focusing on the personalized rituals they perform, in which smells play a guiding role in actualizing implied religious meanings. The principal texts analyzed include Notes from a Desolate Man and The Words of A Witch by Tien-wen Chu, “Hungary Water” by Tien-hsin Chu, and “Rose Asura” by Jun-ying Lin. These works reflect cross-cultural influences of the contemporary revival of Shamanism and New Age thinking, and highlight the relation between sensory/bodily experience and religious/spiritual feelings. While the biological aspect of smell is emphasized, its metaphysical connotations, especially those associated with the sacred and enchantment, are paradoxically restored. The ritualistic function of smell, that of “change of category” above all, is manifest in these works in the sense that it operates as “the liminal,” bridging the profane and the sacred times and spaces. In particular, the article examines the spirit-raising ritual in “Hungary Water,” the purification ritual in “Rose Asura” and the healing ritual in Notes from a Desolate Man, all via aromatherapy. They reflect certain significant aspects of cultural psychology of modern society, tracing its turn from the sacred to the profane and, at a later stage, its sway from rationalistic principles back to the atavistic mystic/shamanistic thinking. The postmodern shamans’ rituals of smell can be considered exploring a practical approach towards sanctity via corporal and sensory experiences and, in doing so, they revive images of the body-centered cults of ancient shamanism. Postmodern literature of smell bears witness to the evolution of olfactory perception not as physical phenomena, but as cultural constitution as well as social product. It thus exhibits how the social body constantly modifies its olfactory taste in adapting to a changing cultural environment.

「旋轉呀旋轉──在不斷向外擴張的漩渦中」
《中外文學》四十而不惑？！

蘇子中*

摘要

轉向呀轉向！《中外文學》自1972 年6 月創刊以來，不論是承先啟後，傳承50 與60 年代《文學雜誌》和《現代文學》的厚實人文關懷及創作與學術並重的傳統；或是再創新猷，在80 年代新批評潮流消散退去後，力求轉型，從文學批評轉向批評理論及文化研究等種種新思潮的譯介、媒合與建構；或是開風氣之先，在90 年代始「主編」易名為「總編輯」後，挪出管理運作空間，廣邀學有專精的客座編輯，精心企劃「專輯」或「專號」，因應競相爭鋒出頭或如走馬燈般不斷交替更迭的議題與各家理論；或是更上層樓，自2003 年11 月號起再次改變期刊性質，正式揮別接受文學創作與西洋文學翻譯投稿的綜合雜誌身分與任務，轉型純學術刊物，更理直氣壯地發展文學論評，構築那文學理論與批評的巨塔，讓期刊學術菁英色彩更形濃厚，繼續「前衛高歌」。本論文並無意鋪陳《中外》發展歷程或作歷史性的耙梳，論文重點在剖析《中外》經營策略與方針的轉向及其效應，以及評估《中外》在台灣人文學界所扮演的角色與對推動文學理論與批評浪潮所作的貢獻。

“Turning and Turning in the Widening Gyre”
Chung Wai Literary Quarterly Wavers Not at Its 40th Anniversary?!

Tsu-Chung Su*

Abstract

Turning and turning! Ever since its founding in June 1972, Chung Wai has been undergoing a series of transformations. It inherited the spirit of Humanistic concerns as well as the dual emphasis on creative writing and scholarly research from the two contemporary journals, Wenxue Zazhi (Literary Review) and Xiandai Wenxue (Modern Literature), in the ‘50s and ‘60s. Subsequently, its focus was shifted from literary criticism to critical theory and cultural studies as the New Criticism approach became passe in the ‘80s. In the ‘90s, Chung Wai changed the Editor’s title to “Editor in Chief ” and invited guest editors to organize special issues to promote topics reflecting different concerns or speaking for different schools/approaches of critical theories. The journal redefined its mission in November 2003 and decided henceforth to exclude creative writings and translations of Western literature. In this way, it was made over as a pure scholarly journal and took on the task of building a bastion of literary theory and criticism. It now exudes elitism and continues to promote advanced learning and high theory. Instead of tracing the history of Chung Wai, this paper endeavors to analyze the changes in Chung Wai’s management strategy and their consequences. Further, the paper explores the role of Chung Wai in the Arts and Humanities circles in Taiwan and the journal’s contribution in advancing new waves of critical theory and criticism.