流離愛欲與家國想像：白先勇同志小說的“異國”離散與認同轉變(1969~1981)

The Diaspora and Identity Transformation in Pai Hsien-Yung's Homosexual Fictions (1969-1981)

曾秀萍(Hsiu-Ping Tseng)

《臺灣文學學報》 14期 (2009/06) Pp. 171-203

https://doi.org/10.30381/BTL.200906_(14).0008

摘要

本文旨在分析《台北人》、《孽子》中的性／別、性傾向與離散經驗、身分認同、記憶、敘事、家國想像之間的關連，以補充當前離散研究偏重種族、國族而忽略性別政治的傾向。本文指出透過同性情慾的認同，《台北人》中的同志族群已對台北產生了不同於中國大陸的家園認同，在〈孤戀花〉、〈滿天裡亮晶晶的星星〉兩篇同志小說中，不論時間感或空間感都迥異於《台北人》其他各篇，並在敘述話語上展開世代交替，提供了《台北人》作為離散族群的差異觀點，開展新的家國認同。而《孽子》透過同志在美國、日本、中國和台灣的離散經驗，反映出另一種台日情結與中台關係。種種異國遷徙所帶來的跨語言、跨國族、歷史等文化混雜的日常生活狀態，也再現了台灣極為複雜的後殖民處境與雜種性。台北在白先勇此期的同志小說中成了眾人情感、記憶的所在，標示白先勇在家國認同思考上另一個重要面向與關鍵性轉折。故而白先勇的同志小說提供了一個與其他非同志小說相互補充的切入點與觀照面向，更提供了一個情慾身分與國族認同連結的思考面向，拓展多重文化認同與家國想像的可能。

關鍵字

白先勇 ； 同志 ； 同性戀 ； 台北人 ； 孽子 ； 離散 ； 家國想像 ； 認同

並列摘要

This article aims to explore the relationship between gender/sexuality, diaspora experiences, personal identities, memories, narratives and the imagined homeland in Taipei People and Crystal Boys. In recent diaspora studies, especially the racial and national issues, have become hot topics while the politics of sexuality has been more or less neglected. This article may act as a supplement in this respect. It is argued that characters in Taipei People have, through their homosexual identities, developed a new homeland identity with Taipei other than with China. Yet, it can be observed that the spatial and temporal experience described in the two homosexual short stories ”Love's Lone Flower” and ”A Sky Full of Bright, Twinkling Star” are quite distinct in Taipei People. As the narratives moved onto the next generation, different view points among diaspora groups were revealed, serving as departures for the formation of new national identities. In Crystal Boys, complicated complexes between Taiwanese and Japanese were reflected through the diaspora experiences of the homosexual groups in the United States, Japan, China and Taiwan. These trans-lingual, trans-national, and trans-historical practices were transformed into a hybridity of cultural experiences in their daily lives, a reflection of the complicated Post-colonial context and hybridity of Taiwan. Taipei has turned into the locus of emotions and memories for characters in Pai Hsien-Yung stories during this period, also a turning point for Pai to reconsider his personal identity. We can say that, these homosexual fictions, as a supplement of Pai's other heterosexual fictions, have offered us a new dimension to reconsider the connection between the sexual and national identities, and to explore the possibilities of multiple cultural identities and imagined homeland.

並列關鍵字

Pai Hsien-Yung ； homosexuals ； Taipei People ； Crystal Boys ； diaspora ； the imagined homeland ； identity

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