身體做為一種聲音－論駱以軍《我們》語言的幽默性與魅惑感

駱以軍（1967-）的小說，在語言上向以魔幻、詭奇、光怪陸離、自嘲、幽默見長，論者或作者本人均聚焦於其大型巨製如《西夏旅館》或《女兒》等，而對於早期的短篇小說如2004年出版的《我們》卻相對的猶有進一步討論的空間，尤其在幽默筆法與多重時空轉換跳接及著重感官經驗的身體性描繪向來被多所忽略，而這些或可成為作家日後寫作的重要歷程及軌跡。本文從梅洛龐蒂（Maurice Merleau-Ponty, 1908-1961）的《知覺現象學》中獲得一些啟發，特別關注作家在語言表達時，著重運用身體知覺的身體性，從而塑造多重「不在場」的深邃場景及空間，並以幽默筆法藉此喚起人們早已麻痺的感官經驗以及幽暗如隧道般的內心，以達成創造了另一種魅惑的新奇世界。

關鍵字

駱以軍；語言哲學；梅洛龐蒂；《知覺現象學》；身體；時間

並列摘要

The language used in Yi-jun Luo's (1967- ) novels is somewhat magical, mysterious, quirky, self-mockery, and humorous. Literary theorists or the author focus mainly on the large project fabricated in Luo's Hotel Western Xia or "Daughter." However, his We, the early collection of his short stories published in 2004, still leaves room for discussion. His humorous writing style and multiple transitions of space and time, in particular, emphasize the body depiction of the sensory experience, an issue that has always been ignored by many. These contribute significant traces and tracks to his writings in the future. Inspired from Merleau-Ponty's (1908-1961) Phenomenology of Perception, the study pays attention to the writer's language expression, especially the corporeity of bodily perception. By so doing, these techniques shape the multiple abyssal scenes and space of absence, arousing the paralyzed sensory experience and the dark tunnel of heart in an attempt to achieve and create another kind of charm of the new world.