| 摘要: | 英美學術界在處理憂鬱這個理論概念時，多半徵引佛洛伊德在〈傷逝與憂鬱〉（”Mourning and Melancholia）之說法，認為憂鬱是一種口腔認同，藉由對於雙親的併入來完成主體的創構。然而這種理論架構預設的是個人主義式的主體，一旦來到華人高度重視禮教形式一致性的恥感文化（shame culture）社群脈絡，便失去了分析的精準度。儘管西方理論將憂鬱和恥感視為兩種不同情感，然兩者在華人文化中其實互為表裡。恥感社會的群體目光造就了壓抑的含蓄傳統，而含蓄傳統的蓄而不發則構成情感鬱結，兩者皆與肛門滯塞息息相關。要分析華人文學與文化文本中的憂鬱／恥感，就必須回到劉人鵬、丁乃非曾經批判的含蓄美學傳統中常出現的背影或罔兩意象。我想改以酷兒理論與心理分析的進路重顧她們理解的含蓄美學，透過「肛門性」（anality）來理論化與此部位形成換喻關係的人物背面／背影。此次提出的兩年期計畫接續今年計畫對《花樣年華》的討論，將分別以《2046》及《一代宗師》作為主要分析文本，解析其中之美學、情感、以及尤其值得一提的倫理意涵。第一年計畫處理的是《2046》如何藉由文本的美學化肛門視角體現了一種逃脫儒家群體主義規範的可能，並藉由肛門性的的反社會性格進一步探究此間牽涉的入世／出世辯證的倫理意涵。第二年計畫則試圖更為深入分析《一代宗師》如何透過對恥感文化的後設評論將前述的入世／出世辯證重置為儒家與佛教思維的的分庭抗禮，自肛門化的含蓄美學中演繹出一套強調空與無的佛教憂鬱思維，來取代儒家的入世倫理。 ;Most critics in the West, when tackling the notion of melancholia, often resort to Freud’s “Mourning and Melancholia,” in which he defines the term as an oral mode of identification derived from the baby’s incorporation of its parents, which in turn leads to the constitution of its subjectivity as such. This kind of theoretical formulation, however, already presupposes an individualist subject, one that cannot be mapped onto a shame culture like Chinese society which characteristically stresses conformity to formal etiquettes. Instead of seeing shame and melancholia as distinct affects as those academics do, I argue that there are close associations between them. The shame society’s gaze creates a repressive tradition of reticence, which in turn causes constipated affects. Thus both shame and melancholia are closely bound up with anal blockage. If we are to conceptualize the entanglements of these two affects as witnessed in Chinese literary and cultural texts, we need to address imageries of one’s shadows and their penumbrae often seen in the Chinese poetics of reticence, which had once been subjected to severe criticism by Jen-peng Liu and Naifei Ding. I intend to re-read their understanding of the poetics of reticence in queer and psychoanalytic terms, using “anality” instead of “orality” as my analytic crux to theorize the figure of one’s back, which bears a metonymic relation to the anus. Building on my current research on In the Mood for Love, I shall proceed to use the same director Wong Kar-wai’s two major feature films which followed in its wake – i.e., 2046 and the Grandmaster -- and set out to tease out the aesthetic, affective, and, above all, ethical implications of these works. During the first year, I intend to tackle the way in which 2046 employs an aestheticized anal perspective to enable an alternative ethical possibility which departs from the Confucian norm of communitarianism. More specifically, I shall examine the social engagement/withdrawal dialectic which underwrites such an ethical alternative in terms of anality’s anti-sociality. The second-year project aims to further pursue the above argument’s implications by analyzing how The Grandmaster’s use of meta-commentaries on shame culture reframes the engagement/withdrawal dialectic as the conflict between Confucian and Buddhist thoughts as it transfigures an analized aesthetics of reticence into the Buddhist notion of emptiness and nothingness, which eventually replaces the ethics of social engagement espoused by Confucianism. |
