巫者的敘事術：從「散文」到「咒文－影像」的思辨

近年來，臺灣乃至於亞洲當代藝術的影像實踐與幽靈論述當中，時常以復返歷史事件、檔案與現場的行動，作為支撐重新敘述受壓迫者、無名者的殖民創傷與邊緣歷史的敘事動力。這類強調幽靈、鬼魅的行動意念與影像實踐之間關聯的論述，試圖將現代性與殖民歷史帶來的創傷敘事，藉由幽靈學式的影像生產，尋求一種得以抵抗現代性的力量。然而，這類論述卻較少關注到幽靈、鬼魅之所以能夠現身的技術條件，以及影像實踐與鬼魅之所以能夠產生關聯的技術論述。筆者認為，除了要對現有關於「幽靈」與影像實踐的論述進行反思之外，也必須要深化對於「巫」的分析和理解，從技術的角度，針對薩滿、巫士與幽靈的關係，重新形塑一種連結「巫」與影像的論述，以補足前人觀點中尚未關注到的影像的問題。因此，本文首先考據「巫」與「工」在漢字的同源、同義性，以及「巫」、「史」、「醫」職能不分的思想，探究巫術、藝術、療癒、敘事技藝之間的內在連結，指出「巫」在多元技術層面上的交互關係。接著，聚焦在「巫」的敘事方法，以「散文」與「咒文」的概念來思考「巫」作為跨越多重技術的敘事文體，如何使兩種文體朝向一處可能進行交互工作的敘事技藝與想像。最後從「咒文」本身具有視覺性的敘事概念，藉由回溯與比較晚近出現的「散文電影」，進一步提出關於影像實踐與「巫」的另翼思考。

關鍵字

巫；散文；咒文；影像論述

並列摘要

The terms "specter" has been commonly adopted to denote the narrative function of photography, images and videos in the field of contemporary writing on art and aesthetics, not only in Taiwan but across Asia. The images, as if providing a portal for the return of the spirits of the past, allow the repressed and suppressed unknown??? to traverse to and from past and present, and also between reality and fiction, in the form of apparitions. However, this kind of discourse pays little attention to the technical conditions that make the apparitions and ghosts appear, and the technical discourse that makes the association between image practice and ghosts possible. The author believes that in addition to reflecting on the existing discourse of specter and image practice, it is also necessary to deepen the analysis and understanding of the concept of "shaman" and to reshape a discourse that links "shaman" and "image" from a technical perspective, focusing on the relationship between shaman, shamans and ghosts, in order to complement the problem of image that has not yet been addressed in the previous viewpoints. Therefore, this paper first examines the homonyms and synonyms represented by the Chinese characters "shaman" and "craft" witch and the idea that "shaman", "narrative" and "cure" are indistinguishable in function. Then, focusing on the narrative method of "shaman", the concept of "essay" and "incantation" is used to consider how "shaman", as a narrative genre that spans multiple technologies, allows the two genres to move toward a place where narrative techniques and imagination can work together. Finally, from the visual narrative concept of "incantation" itself, by retrospecting and comparing the concept of "essay film" that appeared recently, it further proposes a method of image practice for "shaman".