他者之死亡與時空凝結術：朱天心、駱以軍與童偉格的現代性廢墟書寫

Abstract

本研究借重班雅明（Walter Benjamin）的寓言理論，以及黃錦樹的「重寫中文現代主義」的方法論框架，試圖探討朱天心、駱以軍與童偉格皆聚焦於廢墟意象的現代小說作品及其文學意義。在李歐塔（Jean-françois Lyotard）的「重寫現代性」論述之下，三位小說家非如前行研究所指認的後現代派，反而應被視為現代主義書寫者；他們一方面回頭重寫台灣六〇年代現代主義所忽略的主體內裡空缺，另一方面也撬開被現代性封存的經驗：傷廢亡逝。從死者所借來的說故事權威，雖然在抗克均質空洞時間觀的過程中，同時使自身漸趨疲乏，但貶值經驗裡永遠潛藏世俗醒悟的可能性。在詹明信（Fredric Jameson）所謂「表意鏈崩潰」的後現代裡，三位小說家不但各自以中斷起手式，將語言系統當中參符、意符與指符的相繼缺場分別喊停；為他者傷停補時的倫理，也使得被物化消解的現代故事們，全都在瞬時凝結的美學當中成為復活寓言。這種既崩潰又重寫的意志，正是中文現代主義乃至於所有現代主義的本源辯證圖式。最後，本研究將巴特（Roland Barthes）的texte、屠友祥所翻譯的「文」、黃錦樹對於「texte／文」的探討，結合班雅明對於真理的織物性比喻，加工縫紉出專屬於本研究對於「現代性」、「重寫中文現代主義」與「純粹語言」的全新認知：一個具星座布列態勢的文本理念——不停往返於災難與救贖之間的「返口」（gap / opening）。

The research draws on Walter Benjamin’s allegory theory and Kim-Chew Ng’s Re-writing Chinese-Modernism methodological framework to explore the modern writings from Tien-Hsin Chu, Yi-Chun Luo, and Wei-Ge Tong, all of which center on the themes of ruins and their possible literary connotations. Utilizing Jean-françois Lyotard’s discourse on Re-writing Modernity, the study positions these three writers not as post-modernists but as proponents of modernity. On one hand, they revisit the neglected void of subject from Taiwan’s 1960s modernism. On the other, they pry open, expose the sequestration of experience: the wounded, the broken, the passed away, the gone. In conquering homogenous time of modernity, the authority of storytelling borrowed from death, while shifting toward entropy, in fact, always secretes and reveals the potentials for profane illumination in the poverty of experiences. Within Fredric Jameson’s understanding of postmodernity’s “collapse of the chain of signification”, the three novelists employ an interruption gesture to halt the sequential absence of the referent, signified, and signifier within the linguistic system. This ethical act of injury time for the other also transforms reified modern stories into allegories of resurrection within an aesthetic of instantaneous condensation. This dual impulse to both collapse and rewrite represents precisely the dialectical image at the origin of Chinese modernism and modernisms more broadly. Finally, this study integrates Roland Barthes’ concept of “texte,” Yu-Hsiang Tu’s translation of “文”, and Kim-Chew Ng’s discussion of “texte/文”, with Benjamin's metaphor of hyphology regarding truth. By stitching these concepts together, this study offers a new understanding of “modernity,” “re-writing Chinese modernism,” and “pure language”: an idea of a text configured as a constellation, continuously oscillating between disaster and redemption, creating a “gap/opening.”