城市流浪動物的「生殤相」－以駱以軍、杜韻飛作品為例

本文以駱以軍、杜韻飛之作品為例，試圖論析城市居民在與流浪動物相遇時表現出的不同態度，以及身為創作者，他們又是如何以作品呈現或回應此種互動模式。儘管眾多關於城市的論述指出，人類文明與自然之間的疆界早已互相滲透，難以明確區隔，但試圖以「壁壘分明」的方式對待在城市中出現的動物，卻似乎始終是當代城市生活的主流態度，因此，「棄的故事」也就成為城市與動物互動的主旋律。對於這樣的狀況，駱以軍在一次實際參與救援行動後，深感此一「冷酷異境」之巨大與無情，故以感性呼籲之柔性文字，試圖改變城市居民漸趨「無感」之困境；杜韻飛之影像作品《生殤相》則以流浪動物臨終前的影像為素材，並以巨幅肖像之形式，讓觀者無從迴避這些被城市拋棄處死的生命，面對牠們在安樂死之前明亮或黯淡的臉容，人們或能藉此重新省思自身看待動物的方式，並且進一步思考關於城市中人類與動物住民共同協商出生活空間的可能性。

關鍵字

城市；流浪動物；駱以軍；杜韻飛

並列摘要

This article explores the diversity of attitudes held by urban residents toward stray animals by discussing Yi-Chun Lo's and Yun-Fei Tou's animalrelated works. It also discusses how they, when depicting their experience with strays, reveal their own way of interacting with the animals. Although many urban studies regard civilization and nature as interpenetrating, and thus claim that it is impossible to rigidly demarcate the border between the two, most urban residents are still inclined to the view that stray animals should be expelled from their civilized, ordered city space. Consequently, ＂abandonment＂ becomes the motif when the encounters between citizens and strays are to be represented. Overwhelmed by the apathy of this ＂hard-boiled wonderland,＂ Lo attempts to change urban residents' callous indifference to the misfortunes of strays: he not only saved some puppies from the public animal shelter but also started to write down touching stories about strays. As for Yun-Fei Tou, he photographs the last moment of stray dogs and publishes the collection of these images under the title of Memento Mori. Notably, Tou's portraits of the strays are deliberately huge so that the viewers are unable to look aside when facing them and their death executed by the city authorities. Perhaps Tou hopes that people will reexamine their ways of treating animals after they recognize, with the aid of his photography, how bright or gloomy these stray animals once were. It also presses us to consider further if it is possible for human beings to co-exist with animal inhabitants in the urban space.