華語語系台灣鬼魅敘事的性別與家國：以聶華苓、李昂與陳思宏為例

Abstract

本論文從華語語系文學（Sinophone literature）的視角，觀察台灣小說鬼魅敘事中的性別及家國意涵。儘管學界已對華文小說的鬼魅敘事有了不少研究，然迄今較少從華語語系的理論框架細究其意涵及啟示。本論文著眼於不同世代及不同性別認同的作家，挑選出聶華苓《桑青與桃紅》、李昂《看得見的鬼》及陳思宏《鬼地方》等三本小說，作為本論文文本分析之研究對象。本論文除了從既有研究成果梳理其鬼魅所隱含之抵抗性及顛覆性意義外，在將華語語系文學概念前景化之下，也認為文本中的鬼魅本身，正是華語語系社群難以言說、無法再現且既有分類之失靈的體現。本論文先以三章獨立整理各文本分析結果，並突出筆者對鬼魅敘事於各文本的意義觀察。自第五章起，筆者將三個文本的鬼魅敘事並置觀察而相互比較。筆者認為，聶華苓除了挪用了志怪傳統的「異史」精神外，她與李昂都是有意識地揉合現代主義及女作家之書寫位置，以「女鬼」書寫各自的家國寓言；李昂與陳思宏則演繹了不同的「卑賤情境」（abjection），以「卑賤」抗議主流性別秩序的論述，並凸顯威權體制的荒謬。本論文最後觀察出，不斷在家/非家、地方/國家之間的「流動」，不僅是三個文本的共性，更是此三文本所呈現之華語語系小說的主題。華語語系文學的概念固然出自對中國中心論的抵制，但其批判能量更著力於在跨國移動成常態的全球化下，華語語系社群之間的各種複雜性及曖昧性。This thesis analyzes the ghost narrative of Taiwan novels from the perspective of Sinophone literature, with a special emphasis on its gender and home/nation metaphors. Considering different generations and gender identities among Taiwanese writers, the thesis focuses on Hualing Nieh Engle’s Mulberry and Peach, Li Ang’s Visible Ghosts and Kevin Chen’s Ghost Town. While the thesis integrates the insights of previous research, the author argues that when one foregrounds the concept of Sinophone literature, the textual ghosts are manifestations of those who cannot be represented, thus revealing the failure of existing categories in Sinophone communities.This thesis begins with three chapters that organize the research perspectives of each text and highlight the author's observations on the significance of ghost narratives in each text. In chapter five, the author juxtaposes and compares the three texts. The author contends that Nieh and Li combine the modernist elements with their position of women writer in order to create their own home/nation allegories via female ghosts. Conversely Li and Chen exert the power of “abjection” to protest the main gender discourse while exposing the violence of the authoritarian system. Finally, the thesis argues that the constant “flow” between home/non-home and local/nation presented in these three texts is not only a common feature to all three texts, but is also a typical theme of Sinophone fiction in general. While the notion of Sinophone literature certainly emerges from a resistance to China-centrism, its energy lies on the complexity and ambivalence among Sinophone communities in a globalized world.