革命與性愛的極樂戰場 ──閻連科《堅硬如水》中的身體書寫
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Date
2012-06-??
Authors
石曉楓
Shih, Hsiao-feng
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國立台灣師範大學國文學系
Department of Chinese, NTNU
Department of Chinese, NTNU
Abstract
閻連科（1958-）初涉文壇之初，本以對中國鄉土社會中底層苦難生活的書寫知名，一九九○年代中後期起，他在苦難敘事中添加了狂歡化的因素和色彩，借用「革命加戀愛」模式，描摹一場場啼笑交錯的鬧劇。在其長篇《堅硬如水》2001）裡，閻連科重新講述文革歷史，小說中革命理想與性愛的激情互為激盪，其中關於性障礙、性激情、性虐待、性受虐等細節講述，被論者視之為「變態心理」的展現。此外，文革口號、歌曲、政治標語亦隨處充斥；而對毛澤東著作、語錄等革命話語的嫁接、戲仿與重複，更形成性愛與政治話語的狂歡狀態。閻連科在《堅硬如水》中，將革命與性愛的同構關係反覆演練，是否為對一九二○年代以來「革命加戀愛」小說的承襲與變形？其間人物的身體與身體、身體與空間之間，產生何種互動關係？而藉由全書狂歡式的語言，閻連科意欲表達什麼樣的文革情境？「狂歡」敘事又是否已展現出破壞中的再生意義？凡此俱為本論文所欲探討的命題。
Yan Lianke (閻連科) (1958-) used to describe the sufferings of the lower class of the Chinese local society. From late in the 1990s, he adds a carnivalesque hue into his suffering writing and writes farces interlaced with crying and laughing by way of “revolution and love”.In Hard Like Water (《堅硬如水》) (2001), Yan re-tells the history of the Cultural Revolution. Revolutionary ideas and sexual passion stir each other in the novel. His detailed descriptions of disorders, sexual passion and sexual abuse are usually regarded as “abnormal psychology”. Besides, the novels are full of slogans and songs of the Cultural Revolution. By grafting, copying and repeating Mao Zedong’s writings and quotations, Yan creates carnivalesque of sex and politics.In Hard Like Water, Yan practices repeatedly the relationship between revolution and sex.Does it inherit and distort the “revolution and love” novels from the 1920s? What is the interaction between ‘body and body’ and ‘body and space’? What situation of the Cultural Revolution does Yan intend to express by way of the carnivalesque language? Does the carnivalesque narrative display regeneration from damage? All of these are the topics I will discuss in the article.
Yan Lianke (閻連科) (1958-) used to describe the sufferings of the lower class of the Chinese local society. From late in the 1990s, he adds a carnivalesque hue into his suffering writing and writes farces interlaced with crying and laughing by way of “revolution and love”.In Hard Like Water (《堅硬如水》) (2001), Yan re-tells the history of the Cultural Revolution. Revolutionary ideas and sexual passion stir each other in the novel. His detailed descriptions of disorders, sexual passion and sexual abuse are usually regarded as “abnormal psychology”. Besides, the novels are full of slogans and songs of the Cultural Revolution. By grafting, copying and repeating Mao Zedong’s writings and quotations, Yan creates carnivalesque of sex and politics.In Hard Like Water, Yan practices repeatedly the relationship between revolution and sex.Does it inherit and distort the “revolution and love” novels from the 1920s? What is the interaction between ‘body and body’ and ‘body and space’? What situation of the Cultural Revolution does Yan intend to express by way of the carnivalesque language? Does the carnivalesque narrative display regeneration from damage? All of these are the topics I will discuss in the article.