| 摘要: | 酷兒主體在臺灣（中華民國）和中國大陸（中華人民共和國）是如何於包含種族化與文明化的殖民進程中，通過以不同卻相關的方式想像西方，而受到形塑呢？為回答這一問題，我採用文本分析為主要研究方法，細讀兩份文化文本，即臺灣作家郭強生的同志小說《惑鄉之人》和中國大陸老年同志秋雨的生命故事。我對兩份文本的分析分別回應著對跨國酷兒親密關係的想像以及對全球酷兒人權階序的想像。
對我而言，中國酷兒的西方想像是一種物質存在：它由物質基礎決定，並且反作用於物質基礎。為闡明其物質性，導論部分，我處理了對於西方的想像以及想像的倫理。被我稱為“親密的距離”的想像倫理來源於我對“雪夜訪戴”故事的閱讀：依戀關係中，一方面，主體需要將他者客體化和工具化來建立自身主體性；另一方面，主體可以通過與他者刻意維持距離——一種未定的、變化的邊界——來尊重他者的感受和能動。
在第二章《次帝國的慾望：郭強生〈惑鄉之人〉中的跨國親密與冷戰和解》中，我以米山麗莎 (Lisa Yoneyama) 關於美利堅治世下的冷戰和解的論述為理論框架，研究這本臺灣小說中受臺日親密關係遮蔽的西方想像。小說創造出眾多身分混雜的人物，他們的互動暗含著臺灣次帝國的慾望，這表現為征服與受辱的辯證。同時，這一慾望也被對《惑鄉之人》的既有研究所複製，它們推崇著基於國族和解的混雜，卻忽略了混雜身分的排他。就此而言，我認為小說中“真正的告解”將罪犯排除於和解進程之外，探索受害者和國家所代表的第三方在和解話語上的影響：通過規定寬恕的不可重複性，真正的告解避免受害者與第三方合謀利益，以保障和解的神聖，從而超越了功利原則和國族框架。這也是一種臺灣作為方法的酷兒和解。
在第三章《“紅太陽下的黑靈魂”：一位中國老年同志與他對全球酷兒人權的想像》，我以海澀愛 (Heather Love) “感覺倒退”的酷兒歷史政略為理論框架，探究埋藏於老年同志秋雨對全球酷兒人權的落後想像——一個西方高居頂峰，伊斯蘭深陷谷底，中國位於中間的階序——的酷兒潛能。現有對老年同志的研究大體可被分為兩個模式：關注結構暴力的脆弱性模式和聚焦個體抵抗的能動性模式。根據這兩類競爭卻互補的模式，秋雨的想像應被視為一種防禦性他者化 (defensive othering) 。然而，我試圖從他的生活經歷出發來理解這一想像。通過分析其生命故事，我聲稱國族國家、市場經濟、新自由主義全球化以及中國社會的恐同情緒之間的交互關聯造成了他從毛時代至後毛時代苦難的連續；在多重力量的互動中，文化作為經濟正常化和異性戀正常化間的中介、作為國族身體和個人身體間的連接，起到了關鍵作用。我聲稱，國族倒退鑲嵌於秋雨的個人史中，以他對全球階序的倒退想像為症候。他苦難的連續提供了不同於官方版本的關於國族歷史之延續的另類敘事，提醒我們挑戰著國族疆界的跨國LGBT運動之不/可能。
兩章的關聯則在於我在臺灣和中國大陸的分斷體制 (division system) 這一結構下，對國族慾望是如何嵌入日常慾望、以及酷兒主體如何能在追逐日常慾望時與國族慾望保持距離之探問。我對兩份文本的多重脈絡之呈現或可被視作一種在自我和文本之間、臺灣和中國大陸之間、以及中國性和酷兒性之間，維持一種“親密的距離”的努力。;How are queer subjects in Taiwan (the Republic of China) and mainland China (the People’s Republic of China) formed under colonization that comprises both racialization and civilization, through imagining the West in different but relevant ways? To answer this question, I adopt textual analysis as my primary method to read two cultural texts, namely Taiwanese writer Chiang-Sheng Kuo’s tongzhi novel, People of Confusing Homeland, and the life story of Qiuyu, a gay elder in mainland China. My analyses of these two texts respectively respond mainly to the imagination of transnational queer intimacy and the imagination of a global hierarchy of queer human rights.
For me, Chinese queers’ imagination of the West is a material existence: It is decided by the material base, and can react against the material base. To illustrate its materiality, in the Introduction, I deal with the imagination of the West and the ethic of imagination. The ethic of imagination, developed from my reading of the tale of visiting Tai in a snowy night, is what I call “intimate distance”: In the relation of attachment, on one hand, the subject has to objectify and instrumentalize others to establish their own subjectivities; on the other hand, the subject can respect the feeling and agency of others, by deliberately maintaining a distance—an undetermined and changing boundary—from others.
In Chapter Two, “The Desire of (Sub)Empire: Transnational Intimacy and Cold War Reconciliation in Chiang-Sheng Kuo’s People of Confusing Homeland,” I use Lisa Yoneyama’s arguments about the cold war reconciliation in Pax Americana as my theoretical framework, to explore the imagination of the West, which is covered by Taiwan-Japan intimacy in this Taiwanese novel. This novel creates various queer figures with hybrid identities, whose interactions convey the sub-imperial desire of Taiwan, manifested as a dialectic of humiliation and conquest. Meanwhile, this desire is also replicated by the extant scholarship on People of Confusing Homeland, which advocates for the hybridity based on national reconciliation that ignores the exclusiveness of hybrid identity. In this regard, I argue that the “real confession” in this novel distances the criminal from the reconciliation procedure to explore the influence of the victim and the third party represented by the nation state on the forgiving discourse: By stipulating the non-repeatability of forgiveness, the real confession tries to avoid the collusion between the victim and the third party that seeks profits, to guarantee the sanctity of reconciliation, with a transcendence of the principle of utilitarianism and of the framework of nation state. This is a queer reconciliation that regards Taiwan as a method.
In Chapter Three, “‘Black Soul Under Red Sun’: A Chinese Gay Elder and His Imagination of Global Queer Rights,” I use Heather Love’s politics of queer history “feeling backward” as my theoretical framework, to probe queer potentials buried in gay senior Qiuyu’s backward imagination of global queer human rights—a hierarchy with the West at the top, the Islam at the bottom, and China at the middle. Existing research on elderly gay men can be generally divided into two modes: the vulnerability mode focusing on structural violence and the agency mode concentrating on individual resistance. According to these two competing but complementary modes, Qiuyu’s imagination should be viewed as a kind of defensive othering. However, I try to understand this imagination in his living experience. By analyzing his life story, I argue that the interconnection of nation state, market economy, neoliberal globalization, and homophobia in Chinese society causes his continuation of suffering from the Maoist era to the post-Mao era; in the interplay of multiple forces, culture plays a crucial role as an intermediary for economic normativity and heteronormativity, and as a link between the national body and the individual body. I demonstrate that the national backwardness of China is embedded in Qiuyu’s personal history, with his backward imagination of global hierarchy as a symptom. His continuation of suffering provides an alternative narrative of the continuation of national history, which is different from the official version, reminding us of im/possibility of transnational LGBT activism that challenges national borders.
The relation between these two chapters lies in my exploration of how national desires are embedded in daily desires, and how queer subjects can keep a distance from national desires while pursuing their daily desires, within the structure of division system in Taiwan and mainland China. My presentation of the multiple contexts of two texts can be understood as an effort to maintain an “intimate distance” between the self and texts, between Taiwan and mainland China, and between Chineseness and queerness. |
