臺灣千禧世代作家的女同志小說研究

Abstract

觀諸女同志小說的研究，長期集中在邱妙津、陳雪等經典作家身上，然而，千禧世代作家的創作，為女同志小說注入新血，亦不容忽視。本文依小我至大我的進路，探析新世代女同志小說的創作主題。在「創傷」一章梳理女同志小說中的悲情書寫傳統，觀察千禧世代作家筆下的女同志，如何在承繼憂鬱傳統的同時，又開展出新世代的特色。由此發現，沿續校園敘事類型的《向光植物》，其中女同志不再真空存在於校園，也不以自死作為生命出路；李琴峰《獨舞》說明性向認同困難已非新世代女同志小說的共相，而是處在不同時區的個人經驗，同時提醒讀者在時代進步之餘，仍應留意邊緣的悲情聲音；羅浥薇薇《騎士》表述了女同志的身體對抗父權的三種方式；而柴《一則必要的告解》則指出原生家庭對女同志經營親密關係能力的潛在影響。其次在「治療」一章，探究新世代女同志小說中的三種治療方式：楊双子《撈月之人》以書寫進行悼亡，並側寫宮廟文化如何安放人們失去摯愛的哀傷；羅浥薇薇《騎士》與李琴峰《獨舞》藉由旅行過程，獲得重整／翻轉創傷經驗的機會；而柴《集體心碎日記》則是將傷痛轉化為社會革命的力量，展現出以往女同志小說中少有的積極戰鬥面向。 本文最後指出新世代女同志小說的新趨勢：政治意識的興起，及對臺灣的國族認同。李琴峰〈太陽花們的旅程〉說明女同志亦為臺灣公民，對政經議題同異性戀者一樣不遺餘力；楊双子《花開時節》開展出有別於臺灣一九二〇、三〇年代文學中反日、抗日的觀點，陳示了日治時期臺灣文化混雜的面貌；而楊双子在《臺灣漫遊錄》則以食物作為符碼，拓寫日治臺灣時期，殖民者與被殖民者的權力關係。國族意識的展現可視為新世代女同志小說的新面向，其意義正在於從個體的負面情感轉向，掙脫憂鬱傳統，認同自身，更認同接納自己的社會群體，進而打造一個邊界更廣泛的臺灣想像共同體。Research on lesbian novels has long focused on classic authors like Qiu Miaojin and Chen Xue. However, the works of millennial generation writers have injected new vitality into lesbian literature and should not be overlooked. This paper explores the themes in new generation lesbian novels from a personal to a broader perspective.In the"Trauma" chapter, it examines the tradition of tragic writing in lesbian novels and observes how millennial writers, while inheriting the melancholic tradition, also develop new characteristics of their generation. For instance, in "Towards the Light Plants," lesbian characters no longer exist in the vacuum of campus settings nor view suicide as a life solution. Li Qinfeng's "Solo Dance" indicates that the difficulty of sexual orientation identity is no longer a common theme in new generation lesbian novels but rather an individual experience across different time zones. It also reminds readers to pay attention to marginalized tragic voices despite societal progress. Luo Yiwei's "Knight" describes three ways in which lesbian bodies resist patriarchy, while Chai's "A Necessary Confession" points out the potential impact of the family of origin on lesbians' ability to manage intimate relationships. The "Healing" chapter explores three healing methods in new generation lesbian novels: Yang Shuangzi's "Moon Retriever" uses writing to mourn the deceased and subtly describes how temple culture helps people cope with the loss of loved ones. Luo Yiwei's "Knight" and Li Qinfeng's "Solo Dance" gain opportunities to reorganize/transform traumatic experiences through travel. Chai's "Collective Heartbreak Diary" transforms pain into the power of social revolution, showcasing an active combat aspect rarely seen in previous lesbian novels. Finally, the paper points out new trends in new generation lesbian novels: the rise of political consciousness and the national identity of Taiwan. Li Qinfeng's "The Journey of the Sunflowers" explains that lesbians, like heterosexuals,are dedicated Taiwanese citizens involved in political and economic issues. Yang Shuangzi's "The Blooming Season" unfolds a perspective different from the anti-Japanese sentiment in Taiwanese literature of the 1920s and 1930s, presenting the cultural hybridity of Taiwan during the Japanese occupation. In "Wandering in Taiwan," Yang Shuangzi uses food as a code to depict the power relations between colonizers and the colonized during the Japanese occupation of Taiwan. The demonstration of national consciousness can be seen as a new aspect of new generation lesbian novels, signifyinga shift from individual negative emotions to identifying and accepting oneself and the social group, ultimately creating a broader imagined community of Taiwan.