任璧蓮及羅蓓卡•華克作品中的後現代混雜與身分扮演《夢娜在應許之地》與《黑人、白人、猶太人》

Postmodern Hybridity and Performing Identity in Gish Jen and Rebecca Walker

陳福仁(Fu-Jen Chen)

《英美文學評論》 12期 (2008/06) Pp. 191-223

https://doi.org/10.6711/REAL.200806_(12).0006

摘要

此篇論文首先簡要論述早期中國移民作家（素有「親善大使」之稱）的文學作品、第二代華裔美國作家、一九六○年代的華裔美國作家及早期的混血作家－這些作家大致都以二元對立的觀點處理其種族認同。藉由任璧蓮的《夢娜在應許之地》與華克的《黑人、白人、猶太人》，筆者試圖探討當今後現代資本主義制度下一種新的主體陸：主體的身分不再受限於兩者之間的二元對立關係，而是一種接連、不斷變化的流動模式。筆者主張：連續的身分扮演，使兩個文本當中的扮演者忽視其本質的分裂，減輕他們對逐步消逝的大對體的憂慮，並且簡化他者爲一種虛構、可靠且全然矯飾的想像。其次，筆者將檢視兩個文本中身分扮演者如何全部受制於資本主義制度。最後，筆者論斷一種政治身分的可能性。此種身分既非立基於標準的二元架構之內，亦非根植於無止境的身分扮演，而在於意識到個人對大個體的服從程度，認知自身、他者與大對體的缺陷，以及能欣然接受拉岡所謂的「局部享受」。時下，接受局部享受爲形成象徵性約束的一種法則，因爲人産得互相承認每個人都已犧牲自己的享受，而無人能保其全。

關鍵字

後現代混雜 ； 身分扮演 ； 主體性 ； 夢娜在應許之地 ； 黑人、白人、猶太人

並列摘要

In this essay, Ⅰ shall first discuss the literary writings of early Chinese immigrants (who were ”ambassadors of good will”), second-generation Chinese American writers (some as assimilationists), Chinese American writers in the 1960s (some as cultural nationalists), and early bi-racial writers-all of whom situate racial identity within a binary context. Then, using Gish Jen's Mona in the Promised Land and Rebecca Walker's Black White and Jewish, Ⅰ shall explore a new mode of subjectivity in today's postmodern-capitalist regime, an identity that is no longer situated in the in-between of binary oppositions but involves an incessant movement of differences. Ⅰ argue that the never-ending performance of identities enables the performers of the two texts to disregard their split, ease their anxiety about the diminishing Other, and reduce the other to one-imaginary, authentic, and totally rhetorical. On that basis, Ⅰ shall examine how these identity performers in both texts are all assumed in the Capitalist Other and how identity performance and postmodern hybridity are both concomitant with today's Global-Capitalist regime. Finally, Ⅰ propose a possible political identity. It is one that is neither grounded on binary framework nor based on an endless movement of performance. Rather, it lies in acknowledging the extent of one's obedience to the Other, the recognition of the lack in self, others, and the Other, and the ability to embrace a Lacanian ”partial enjoyment.” Today, accepting the partiality of enjoyment is a way to form a symbolic bond in that we need to recognize that we all have made our sacrifice in enjoyment and none will have it all.

並列關鍵字

Postmodern Hybridity ； Performing Identity ； Subjectivity ； Gish Jen ； Rebecca Walker

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