男性氣質在跨文化下的表述:黃哲倫《蝴蝶君》與三島由紀夫《假面的告白》中的東西文化交錯

Abstract

本研究延伸愛德華·薩伊德（Edward Said）的「東方主義」理論霍米·巴巴（Homi Bhabha）提出的「矛盾狀態」、「混雜性」與「第三空間」概念，以及朱迪斯·巴特勒（Judith Butler）的性別展演理論，主張「文化身份」與「男性」皆非穩固不變的概念，而是在特定文化脈絡與權力關係中被不斷建構與重塑。研究旨在探討東亞男性形象與男性氣概如何在跨文化交鋒中，持續受到不同文化權力的影響與形塑，並以黃哲倫（David Henry Hwang）的《蝴蝶君》與三島由紀夫（Yukio Mishima）的《假面的告白》為文本分析對象。前者揭示西方如何試圖界定「東方」，藉以鞏固其性別與文化優勢，卻同時暴露其內在的不安全感；而東方主體則透過此不安進行反覆的定義、建構與顛覆「東方」與「西方」定義，使兩者的界線變得模糊與不穩定。後者則描繪第一人稱主角「我」／（Kō‑chan）如何在日本國內多重文化符號的影響下——包括軍國主義、戰後男性角色、西方童話、基督教與古希臘神話等——建構出一種「混雜」的男性身份，展現「男性」本身的流動性與不確定性。儘管有關男色（nanshoku）的學術論點可作為理解主角對男性氣概建構，然本研究認為文本所呈現的男性身份，既無法簡化為傳統男色，也無法簡化為西方同性戀男性的表現模式。透過上述兩部作品的比較分析，本文指出，東／西、異／同性性向、男性／女性等二元對立的身份分類，並無穩固的界限，而是隨著歷史、意識形態與個體實踐的流動而不斷被挑戰、協商與重構。

This thesis examines the discursive construction of East Asian masculinity, arguing that both culture and masculinity are contingent under cultures encounters, both in obvious transnational settings and within a single nation. The study draws on Edward Said’s theory of Orientalism, Homi Bhabha’s concepts of ambivalence, hybridity, and the Third Space, and Judith Butler’s theory of gender performativity to understand how identity emerges through ongoing enunciations. David Henry Hwang’s M. Butterfly demonstrates how Western attempts to define the Orient paradoxically reveal its own masculine insecurity, while Eastern subjects utilize this insecurity to reproduce and at the same time contest the Oriental discourse. The play stages the collapse of colonial masculinity through geopolitical and gender subversion. Meanwhile, Yukio Mishima’s Confessions of a Mask shows how hybrid masculinity emerges within Japan as the protagonist, Kochan, reworks cultural codes like Japanese militarism, Western fairy tales, Christian martyrdom, and Greek myth. This hybrid masculinity is continually contested and reshaped through engagement with dominant discourses and never fully resolves into a coherent identity. While scholarship on nanshoku provides insight into Kochan’s desire, my thesis argues that the text constructs a provisional masculinity that resists being fully reduced to either nanshoku or Western homosexuality. In both texts, the East/West binary and gender categories like heterosexual/homosexual and masculine/feminine prove unworkable, as identities are constantly reformed through negotiations and contestations under their specific contexts.