陰陽同體與窺淫癖－從基進女性主義觀點探討成英姝《男妲》之陰性書寫

Androgyny and Voyeurism: Exploration on Écriture Féminine in Yin-shu Cheng's ＂Man Da＂ in A Radical Feminism Light

林慧羚(Hui-Ling Lin)

《中國文化大學中文學報》 28期 (2014/04) Pp. 187-213

摘要

成英姝的《男妲》是一部題材特殊的小說，從陰陽同體的概念出發，有意識的操弄「陰陽同體」的小說命題，在日治時期透過妓院「異質空間」的再現，引領我們重新思考性／性別與角色命運，作者以成英姝式玩世不恭與機智解嘲的機鋒方式操弄性別，企圖讓二元對立的性別概念鬆動與崩解。本文以基進女性主義觀點探討成英姝《男妲》之陰性書寫策略，在晚近的女性主義思潮運動下，女作家是如何穿越自己性別的障礙，呈現這類「亦男亦女、非男非女」的性別書寫，啟發性／性別、男性氣質／女性特質、愛／情慾、生理母親／社會母親、母職天生／後天養成等辯證思維，並試析作者是如何創造閱讀的愉悅／踰越，以瓦解陽具中心主義及異性戀機制獨霸的局面。

關鍵字

成英姝 ； 男妲 ； 女性主義 ； 陰陽同體 ； 窺淫癖

並列摘要

Cheng Yin-shu's ＂Nan Da＂ is a fiction with special subject matter. By means of manipulating the fictional thesis of ＂androgyny＂ ideologically, Cheng Yin-shu leads us to reflect on that gender is correlative with fate. How does the female writer cross the barrier of gender in the recent trend of thought of feminism movement to represent the gender writing of ＂it's both man and woman, and neither man nor woman,＂ and how does the author create the pleasure/transgression of reading to disintegrate phallocentrism and the hegemonic condition of heterosexual apparatus? However, the author's writing technique is flooded with the writing mode of phallocentrism voyeurism, and readers can get pleasure and stimulus of reading by way of voyeurism. Though the author is a proponent of radical feminism subconsciously, aiming to free from the cage of binary gender with sophisticated subject matter, she can't still avoid using male writer's accustomed visional perspective as her writing technique. Is it a trace of mass media discipline under patriarchal apparatus? If people do not root out the thought of phallocentrism from their brains, radical feminism still can't complete the disenchanted ceremony.

並列關鍵字

Cheng Yin-shu ； ＂Nan Da＂ ； feminism ； androgyny ； voyeurism

參考文獻

成英姝(2005)。好女孩不做。臺北:聯合文學出版社。

成英姝(2007)。男妲。台北:聯合文學出版社。

范銘如(2005)。像一盒巧克力：當代文學文化評論。臺北縣中和市:印刻出版有限公司。

成英姝(2006)。地獄門。臺北市:皇冠文化。

成英姝(2005)。似笑那樣遠，如吻那樣近。臺北:印刻文化。